I  HISTORIC  I 
I  DRESS 4  IN 
AMERICA 

18001870 

I       ELI  SABETH  » 
Mc  CLELLAN 


4 


HISTORIC  DRESS  IN  AMERICA 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/historicdressinaOOmccl_0 


1804 

Frontispiece  (Figure  1). — Picture  of  an  Empire  gown  worn  in  Phila- 
delphia, now  in  the  collection  at  Memorial  Hall.  The  train  is  of  blue 
satin  bordered  with  a  bias  fold  of  white  satin  embroidered  with  sprays 
of  roses  and  leaves  in  natural  colours.  Over  the  short  puffed  sleeves  of 
white  crepe  trimmed  with  bands  of  embroidered  satin  are  caps  of  the 
white  satin  with  embroidered  roses.  The  same  pattern  is  embroidered 
above  the  hem  of  the  white  satin  under-dress.  Around  the  traiu  and 
on  the  hem  of  the  under-dress  is  a  narrow  trimming  of  embroidery  in 
pink  and  white.  The  shoulder  ruching  is  made  of  plaited  white  crepe 
edged  with  lace.  The  dress  turban  of  blue  satin  is  embroidered  to 
match  the  dress  and  ornamented  with  two  white  plumes  and  one  of 
pink.    This  beautiful  gown  is  a  hundred  years  old. 


HISTORIC  DRESS 
IN  AMERICA 

1800-1870 


BY 

ELISABETH  McCLELLAN 

Author  of  "Historic  Dress  in  America,  1607— 1800 ' 


Illustrations  in  Pen  and  Ink  and  Half  Tone 

BY 

SOPHIE  B.  STEEL 

AND 

CECIL  W.  TROUT 

Together  with  reproductions  from  photographs 
of  rare  portraits,  original  garments,  etc. 


PHILADELPHIA 

GEORGE  W.  JACOBS  &  CO. 

PUBLISHERS 


Copyright,  1 910,  by 
GEORGE  W.  JACOBS  &  COMPANY 
Published  November,  igio 


All  rights  reserved 
Printed  in  U.  S.  A. 


Many  books  have  been  written  on  the  houses,  the  furniture, 
and  the  decorations  of  the  century  we  have  so  lately  seen  pass 
into  history,  but  of  the  costumes  chosen  and  worn  by  our  im- 
mediate ancestors  very  little  has  been  recorded  in  print.  Yet, 
as  Mr.  Calthrop,  the  English  authority  on  the  history  of  dress 
has  aptly  said,  "  To  see  our  ancestors  dressed  is  to  have  a  shrewd 
guess  as  to  what  they  were — as  to  what  they  did."  The  present 
volume  is  designed  to  bring  us  within  the  charmed  circle  of  in- 
timacy and  to  reveal  to  us  the  tastes  and  fancies,  the  pursuits 
and  pastimes,  of  our  nineteenth  century  grandparents.  It  goes 
to  press  with  many  thanks  to  the  friends  who  have  lent  me  their 
ancestral  treasures.  The  scheme  of  illustration  has  been  to  ar- 
range the  garments  on  living  models  and  to  copy  the  hair  and 
accessories  from  contemporary  portraits  or  old  fashion  plates. 
As  the  first  years  of  the  twentieth  century  have  witnessed  a  re- 
vival of  the  scant  and  clinging  skirts,  the  turbans  and  scarf 
draperies,  of  a  hundred  years  ago,  we  are  reminded  of  the  old 
verse : 

"  Fashions  that  are  now  called  new 
Have  been  worn  by  more  than  you, 
Other  times  have  worn  the  same 
Though  the  new  ones  get  the  name." 


Philadelphia,  November,  1910. 


Elisabeth  McClellan. 


Contents 


Women's  Dress,  1800-1810   23 

Women's  Dress,  1810-1820  '  .87 

Women's  Dress,  1 820-1 830   141 

Women's  Dress,  18 30- 1840   182 

Women's  Dress,  1 840-1 850   213 

Women's  Dress,  1 850-1 860   245 

Women's  Dress,  i860- 1870   263 

Children's  Garments,  1 800-1 835   295 

Children's  Garments,  1835-1870   311 

Quaker  Costume,  1800- 1870   327 

Dress  of  the  Shakers   333 

Men's  Apparel,  1800-18 10   347 

Men's  Apparel,  18 10-1830   378 

Men's  Apparel,  1830-1850   397 

Men's  Apparel,  1 850-1 870   414 

Clergymen's  Dress   427 

Uniforms   430 

Sporting  Dress                                                                .       .  431 

Glossary  .      .   433 

Index   445 

Authorities  Consulted   455 


Illustrations 


Initials 

FIGUBE  PAGE 

1.  Working  girl  and  little  boy  in  typical  costumes,  1800-1810   .       .  23 

2.  Girl  in  striped  muslin,  lent  by  F.  Walter  Taylor,  Esq.,  and  a 

letter-carrier  in  typical  costume,  181.0-1820    87 

3.  Embroidered  muslin.    Lent  by  Mrs.  Samuel  Chew,  1820-1830       .  141 

4.  Walking  dress  with  large  sleeves,  pelerine  and  bonnet.  Typical 

styles,  1830-1840   182 

5.  Lady  in  flounced  dress  and  small  bonnet.    Typical  dress,  1840-1850  213 

6.  Lady  iu  hoop-skirt  and  shawl.    Typical  costume,  1850-1860      .  245 

7.  Lady  in  riding  habit,  little  girl  in  hoop  skirt.    Typical  fashions, 

1860-1870    263 

8.  Child  in  pinafore  over  a  chintz  dress,  1800  and  after.    From  a  print .  295 

9.  Child  in  dress  worn  over  a  guimpe  ;  large  hat.    Typical  of  styles, 

1840-1850    311 

10.  Quaker  gentleman  from  a  pencil  sketch.    Lent  by  Miss  Anne  H. 

Cresson,  1830-1840      '.  327 

11.  Gentleman  in  high-waisted   coat  and  long  pantaloons.  Typical 

fashion,  1800-1810    347 

12.  Gentleman  in  walking  dress.    Typical  style,  1810-1830  .       .  .378 

13.  Lady  and  gentleman  iu  riding  dress.    Typical  costumes,  1830-1840  397 

14.  Military  costumes.    Typical  uniforms  of  officer  and  private  during 

the  Civil  War,  1861-1865    414 


Other  Illustrations 

1.  Empire  gown  worn  in  Philadelphia,  about  1804.    Memorial  Hall, 

Philadelphia  Frontispiece 

2.  Turkish  vest  and  turban.  From  a  plate,  1801  .  .  .  .29 
3-4-5-6.  Progress  of  the  toilet,  by  Gillray,  1800    29 

7.  Head-dresses,  1801.    From  a  plate  29 

8.  Gypsy  hat,  1800  +.    From  a  plate  29 

9.  Cap  and  locket  watch,  1800.    From  a  plate     .  .       .  .29 

10.  Tnrban  and  veil,  1801.    From  a  plate  29 

11.  Outdoor  costume,  1801.    From  a  plate  29 


10 


ILLUSTRATION'S 


FIGURE  PAGE 

12.  Morning  dress,  1801.    From  a  plate   29 

13.  Walking  dress,  pelisse  and  Livinia  hat,  1807.    From  a  plate  .       .  29 

14.  Summer  outdoor  dress,  1806.    From  a  plate   29 

15.  Fashionable  coiffure,  1807.    Portrait  by  Hopuer     .       .       .  .39 

16.  Evening  head-dress.    From  a  portrait  of  1808         .       .       .       .  39 

17.  Scarf  turbau.    From  a  portrait  of  1806    39 

18.  Muslin  turban  worn  by  Princess  Mary,  1810   39 

19.  Head-dress  of  India  muslin.    From  a  portrait  by  Lawrence    .       .  39 

20.  Head-dress,  1805.    From  a  portrait  of  Mrs.  J.  Dickinson  Sergeant, 

by  St.  Memin.   Lent  by  George  Maurice  Abbot,  Esq.  .       .  .39 

21.  Short  hair,  1800  +.    From  a  contemporary  portrait      .       .  .39 

22.  Fashionable  coiffure,  1810.    From  a  miniature  of  the  period  .       .  39 

23.  Costume  of  1808.    Lent  by  J.  Bundle  Smith,  Esq  49 

24.  Hat  and  veil,  1806.    From  a  plate  49 

25.  Turban  and  earrings,  1806.    From  a  plate  49 

26.  Gown  of  white  muslin,  embroidered  in  "Smyrna  work,"  1808. 

Lent  by  J.  Bundle  Smith,  Esq  49 

27.  Spencer  and  hat,  1802.    From  a  plate  49 

28.  Gown  of  silver-embroidered  muslin,  1808.    Lent  by  J.  Bundle 

Smith,  Esq  49 

29.  Back  of  pelisse,  hat  with  feather,  1812.    Lent  by  F.  Walter 

Taylor,  Esq.  .49 

30.  Back  view  of  gown  in  Figure  56.    Lent  by  J.  Bundle  Smith,  Esq.  .  49 

31.  Hat  of  1805.    From  a  plate  49 

32.  Evening  hat  of  1808.    From  a  plate  49 

33.  Muslin  gown  with  stripes  of  drawn-work,  1808.    Lent  by  J.  Bundle 

Smith,  Esq.   49 

34-39.  Head-dresses,  1800-1808.    From  portraits  by  St.  Memin    .       .  59 

40.  Silk  turban.    From  a  portrait  of  1807    59 

41.  Fringed  turban.    From  a  portrait  of  Mrs.  Madison        .       .  .59 

42.  Mourning  street  dress,  1818.    From  a  plate   69 

43.  Oldenburg  bonnet,  1814.    From  a  portrait   69 

44.  Begency  costume,  1813.    From  a  plate   69 

45.  Begency  cap,  1813.    From  a  plate    69 

46.  Mine.  Lavalette.    From  an  engraving  of  1815   69 

47.  Spanish  hat  and  cape,  1811.    From  a  plate      .  .       .  .69 

48.  Walking  dress,  1810.    From  a  plate   69 

49.  Huntley  scarf  and  cap,  1814.    From  a  plate   69 

50.  Walking  dress,  1812.    From  a  plate   69 

51.  Wedding  gown  of  silver- embroidered  muslin  in  diagonal  stripes, 

1800.    Lent  by  Miss  Margaret  Bull  us  79 

52.  Dress  suit,  1803.    From  a  contemporary  plate        .       .       .  .79 

53.  Dress  of  jaconet  muslin,  1804.    Lent  by  F.  Walter  Taylor,  Esq.     .  79 


ILLUSTRATIONS 


1 1 


FIGURE  PAGE 

54.  Gown  of  china  crepe,  1805.    Lent  by  F.  Walter  Taylor,  Esq.  .       .  79 

55.  Man  in  top  coat,  1806.    From  a  plate  79 

56.  Wedding   costume  of  white  satin,  1808.     Lent  by  J.  Eundle 

Smith,  Esq.   .       .  79 

57.  Wedding  costume,  1808.    Portrait  by  Sully  79 

58.  Dress  of  yellow  gauze,  1808.  Lent  by  J.  Bundle  Smith,  Esq.  .       .  79 

59.  Pelisse,  1805.    Lent  by  J.  Walter  Taylor,  Esq  79 

60.  Augouleme  walkiug  dress,  1815.    From  a  plate  89 

61.  Dress  of  white  satin  brocade,  1829.    Lent  by  J.  Eundle  Smith,  Esq.  89 

62.  White  embroidered  frock,  1824.    Lent  by  Miss  Cleeman        .       .  89 

63.  Danciug  frock  of  white  crepe,  1824.    Lent  by  Mrs.  Samuel  Chew  .  89 

64.  Blue  silk  dress,  1828    89 

65.  Danciug  frock  of  pink  gauze,  1823.    From  a  plate  .       .       ,  .89 

66.  Carriage  costume,  1817.    From  a  portrait  by  Chalons     .       .  .99 

67.  Court  dress,  1810.    Portrait  by  Leslie  99 

68.  Carriage  costume,  1820.    From  a  portrait  99 

69.  Street  dress,  1818.    From  a  portrait  99 

70.  High  comb  and  unique  collar,  1824.    From  a  miniature        .      .  99 

71.  Street  costume,  1820.    From  a  portrait  99 

72.  Weddiug  dress,  1834.    Lent  by  Mrs.  William  Hunt       .       .  .109 

73.  Yellow  brocade,  1832.    Lent  by  Miss  Anna  C.  Phillips  .       .  .109 

74.  Dress  of  pink  satin,  1838.    Lent  by  Miss  Anna  C.  Phillips     .       .  109 

75.  Dress  of  blue  taffeta,  1833.    Lent  by  Mrs.  Talbot  M.  Eogers  .       .  109 

76.  Outdoor  costume,  1811   .       .  .119 

77.  Empire  gown,  1804.    From  a  portrait  by  Le  Brun  ....  119 

78.  Court  hoop,  1817.    From  a  fashion  plate  119 

79.  Mourning  dress, — mother  and  child,  1809.    From  a  plate      .       .  119 

80.  Mourning  ball  dress,  1820.    From  a  plate  119 

81.  Kutusoff  costume,  1812  119 

82.  Sleeve  cushion,  1830.    Memorial  Hall,  Philadelphia      .       .  .129 

83.  Artificial  curls.    Memorial  Hall,  Philadelphia       ....  129 

84.  Spencer,  1830.    Lent  by  Miss  Voute  129 

85.  Bead  purse,  1830.    Lent  by  Mrs.  Talbot  M.  Eogers      .       .  .129 

86.  Dress  of  brown  taffeta,  1830.    Lent  by  Miss  Voute  .  129 

87.  Dress  of  sage-green  brocade,  1835.    Lent  by  Miss  Anna  G.  Brinton  129 

88.  Eeticule  of  1833    129 

89.  Satin  apron,  1830.    Lent  by  Mrs.  Talbot  M.  Eogers      .       .  .129 

90.  Black  lace  cape,  1835    129 

91.  Mouchoir  case,  1834    129 

92.  Scarf  drawn  through  ring,  1833    129 

93.  Belt  buckle  of  pearl  inlaid  with  gold,  1830.    Lent  by  Mrs.  Talbot  M. 

Eogers  129 

94.  Shoulder  cape,  1834   .129 


12 


ILLUSTRATIONS 


FIGURE  PAGE 

95.  Gentleman's  walking  costume,  1813  139 

96.  Outdoor  costume,  1814.    Lent  by  F.  Walter  Taylor,  Esq.     .       .  139 

97.  "White  satin  dress,  with  high  waist  and  long  sleeves,  1815.  Lent 

by  J.  Bundle  Smith,  Esq  139 

98.  Pelisse  of  brown  satin,  1814.    Lent  by  F.  Walter  Taylor,  Esq.      .  139 

99.  Gentleman  in  evening  dress,  1816.    From  a  print  ....  139 

100.  Dress  of  brocaded  silk,  1828.    Lent  by  Miss  Anna  C.  Phillips      .  139 

101.  Man  in  walking  suit,  1820.    From  a  print     .       .       .       .       .  139 

102.  Walkiug  dress,  1823.    From  a  plate  139 

103.  Weddiug  dress  of  white  satin,  1824.    Lent  by  Miss  Cleeman  .       .  139 

104.  English  gentleman  in  full  dress,  1820    139 

105-117.  Biding  hats  and  habits,  1800-1842.    From  contemporary  fash- 
ion plates  149 

118.  Mourning  walking  dress,  1825.    From  a  plate      ....  159 

119.  Outdoor  costume,  1820.    From  a  plate  159 

120.  Dinner  party  dress,  1821  159 

121.  Extremes  of  fashion  in  t lie  thirties.    From  fashion  plates     .       .  159 

122.  Wedding  dress,  1835.    From  a  portrait  159 

123.  Extremes  of  fashion  in  the  thirties.    From  fashion  plates     .       .  159 

124.  Satin  bonnet,  1847.    Courtesy  of  Miss  Dutihl       .       .       .  .169 

125.  Straw  bonnet  of  1840.    From  a  plate  169 

126.  Dove-coloured  bonnet,  1848.    Courtesy  of  Miss  Dutihl  .       .       .  169 

127.  House  dress  of  mousseline  de  laine,  1845    169 

128.  Lingerie  bodice  with  Boman  scarf,  1840    169 

129.  Grey  satin  dress,  1843.    Lent  by  the  Misses  Steams,  of  Boston     .  169 

130.  Velvet  bonnet,  1848.    Courtesy  of  Miss  Dutihl      .       .       .  .169 

131.  Bonnet  of  ribbed  silk,  1840.    Courtesy  of  Miss  Dutihl  .       .  .169 

132.  Quilted  hood,  1845.    Memorial  Hall,  Philadelphia      .       .  .169 

133.  Hair  in  bow-knot,  1834  .       .   179 

134.  Evening  dress  in  the  forties.    From  a  fashion  plate       .       .       .  179 

135.  House  dress,  1850  +   179 

136.  Extremes  of  fashion  in  the  forties   •  179 

137.  Street  costumes  in  the  forties  179 

138.  Coiffure  of  pearls  179 

139.  Evening  dress  in  the  forties  179 

140.  Fashionable  waterfall  of  1860  +   179 

141.  Gentleman  in  court  dress,  3824.    From  a  plate      ....  189 

142.  Dress  worn  at  ball  given  to  La  Fayette,  1825.    Lent  by  Miss  Bittin- 

ger  I89 

143.  Gentleman  in  top  coat,  1826    189 

144.  Gauze   dress  with  satin  stripes,    1829.      Lent   by  J.  Bundle 

Smith,  Esq  i89 

145.  Summer  walking  dress,  1S30  189 


ILLUSTRATIONS 


13 


FIUUKK  PACiE 

146.  Walking  dress  of  a  gentleman,  1835.    From  a  print      .       .       .  189 

147.  Figured  chintz  morning  dress,  1833.    From  a  print      .       .       .  189 

148.  Walking  suit,  1830.    From  a  fashion  plate  189 

149.  Barege  dress,  1850.    Lent  by  Miss  Voute  199 

150.  Bonnet  of  1850.    Lent  by  Mrs.  William  Hunt      .       .       .  .199 

152.  Portrait  of  Mrs.  Bloomer,  1851  199 

153.  Caricature  of  fashions,  1857.    From  Punch  199 

154.  Hoop-skirt,  1850  +.    Lent  by  Mrs.  Talbot  M.  Eogers    .       .  .199 

155.  Basque  of  pink  silk,  1850-1855.    Lent  by  the  Misses  Stearns        .  199 

156.  Back  view  of  peignoir,  Figure  271,  1850.    Lent  by  Mrs.  Caspar 

Morris  199 

157.  Girl  in  pantalettes,  1813.     From  a  plate  209 

158.  Mother  and  children,  1802.    From  a  portrait  209 

159.  Girl  in  pantalettes,  1837    209 

160.  Mother  and  child,  1820.    From  an  engraving       ....  209 

161.  Boy  in  sailor  costume,  1850.    From  a  portrait       ....  209 

162.  Boys  in  highland  dress,  1854.    From  a  portrait     ....  209 

163.  Hat  and  feathers  of  1864.    From  a  print  219 

164.  Turban  hat,  1860-1870    219 

165.  Mushroom  hat  and  Garibaldi  blouse,  1862    219 

166.  Croquet  costume,  1868    219 

167.  House-maid,  1860-1870    219 

168.  Hair  in  a  chenille  net,  1860    219 

169.  Jockey  hat  and  feather,  1860   -.219 

170.  Wedding  costume,  1836.    Lent  by  the  Misses  Mordecai      .       .  229 

171.  Lace  collars,  1850-1870.    Lent  by  Miss  Agues  Repplier        .  .229 

172.  Specimens  of  high  combs,  1S20-1840    229 

173.  Bodice  of  wedding  gown,  1854.    Lent  by  Mrs.  William  Hunt       .  229 

174.  Boy  in  calico  suit,  1804.    Lent  by  Mrs.  John  Logan     .       .       .  239 

175.  Girl  in  red  pelisse,  1812.    Lent  by  Miss  Anna  C.  Phillips     .       .  239 

176.  Girl  in  large  hat,  1822.    From  a  print  239 

177.  Small  child  in  muslin  frock,  1800    239 

178.  Boy  in  long  pantaloons,  1818.    From  a  plate  239 

179.  Boy  in  frock  and  trousers,  1826    239 

180.  Gir  l  in  gauze  dress.    Lent  by  J.  Bundle  Smith,  Esq.     .       .       .  239 

181.  Girl  in  large  bonnet,  hair  in  Kenwig  plaits,  1831.    From  a  plate  .  239 

182.  Boy  in  high  hat,  1832.    From  a  portrait  239 

183.  Girl  in  figured  lawn  dress,  1834.    Lent  by  Mrs.  Wm.  F.  Dreer     .  239 

184.  Child  in  corded  muslin,  1837.    Lent  by  Mrs.  Wm.  F.  Dreer       .  239 

185.  Boy  in  coat  with  frogs,  1838    239 

186.  Boy  in  blue  waist  and  white  trousers,  1848.    Lent  by  Mrs.  Wm.  F. 

Dreer  239 

187.  Child  from  fashion  plate  of  1848   239 


14 


ILLITSTKATIONS 


FIGURE  PAGE 

189.  Boy  in  plaid  skirt  and  velvet  jacket,  1856    239 

190.  Young  girl  from  fashion  plate,  1857    239 

191.  Boy  in  merino  suit  and  gilt  buttons,  1853    239 

192.  Child  in  French  apron,  1861    239 

193.  Boy  in  velvet  suit,  1865.  From  a  photograph  .  .  .  .  .  239 
191.  Boy  in  ankle  ruffles,  1806.    From  a  print  249 

195.  Child  in  tunic  aud  full  trousers, —Mother  in  mantle,  shirred  bon- 

net, and  pagoda  parasol,  1807.    From  a  plate     ....  249 

196.  Dress  of  apricot  gauze,  1822.    Leut  by  J.  Bundle  Smith,  Esq.      .  249 

197.  Boy's  suit,  1833.    From  a  portrait   249 

198.  Boy  in  leg-of-mutton  trousers,  1833    249 

200.  Child's  turban,  1860.    From  a  photograph  249 

201.  Dress  of  checked  silk  over  white  guimpe,  1862.    From  a  photo- 

graph   249 

202.  Tweed  suit,  1862.    From  a  photograph   249 

203.  Child's  hat,  1806.    School  of  Industrial  Art   249 

204.  Boy  and  girl,  1864.    From  a  plate   249 

205.  Girl  in  Zouave  jacket,  1861    249 

206.  Boy  in  brown  coat  and  loug  trousers,  1865    249 

207.  Girl  from  a  fashion  plate  of  1870    249 

208.  Paper  doll,  1829.    Leut  by  Mrs.  George  Mason  Chichester   .       .  259 

209.  Doll  in  weddiug  dress  and  veil,  1840.    Lent  by  Mrs.  Philip  Syng 

Conner  259 

210.  Doll  with  patent  head,  1855.    Leut  by  Miss  Sara  Cresson     .       .  259 

211.  Doll  in  bloomer  costume,  1851.    Lent  by  Miss  Anue  H.  Cresson  .  259 

212.  Infant's  shirt,  1853   .       .  .269 

213.  Child's  spencer,  1835    269 

214.  Child's  shirt,  1860    269 

215.  Christeuiug  robe,  1855.    Lent  by  Miss  Mary  Bepplier  .       .       .  269 

216.  Child's  costume,  1837.    Lent  by  Mrs.  Wm.  Hunt  .       .       .  .269 

217.  Infant's  dress,  1824    269 

218.  Iufaut's  robe,  1826.    Lent  by  Mrs.  Wm.  F.  Dreer  .       .       .  .269 

219.  Child's  shoes,  1860.    Lent  by  Mrs.  Wm.  F.  Dreer  .       .       .  .269 

220.  Baby  cloak  and  bonnet,  1837.  Lent  by  Mrs.  Wm.  Hunt  .  .  269 
222.  Part  of  the  wedding  outfit  of  Miss  Lydia  Learning,  1808.    Lent  by 

J.  Bundle  Smith,  Esq  .279 

223-224.  Wedding  veil,  scarf,  shawl,  etc.,  1808.    Lent  by  J.  Bundle 

Smith,  Esq   .       .  .279 

225.  Baby  dress,  1810  ;  embroidered  pelisse,  1830.    Lent  by  J.  Bundle 

Smith,  Esq   .279 

227.  Gentleman  in  full  dress,  1838.    Taken  from  a  plate      .       .  .287 

228.  Wedding  dress  of  1838.    Lent  by  Miss  Anna  C.  Phillips  .  287 

229.  Tweed  suit.  1839    .287 


ILLUSTRATIONS 


15 


FIGURE  PAGE 

230.  Figured  white  silk,  1836.    Lent  by  Miss  Sara  Cresson  .       .  .287 

231.  Broadcloth,  suit,  1837.    Lent  by  Mrs.  Caspar  Morris     .       .  .287 

232.  Silk  pelisse  of  1847    287 

233.  Satin  gown,  1845.    Lent  by  the  Misses  Stearns      ....  287 

234.  Blue  coat  and  white  waistcoat,  1845.    Lent  by  Mrs.  Caspar  Morris  287 

235.  Coiffure  a  V  indisposition,  1812  297 

236.  Dinner  cap  of  1812  297 

237.  Hyde  Park  bonnet,  1812  297 

238.  Chip  bonnet,  1816  297 

239.  Leghorn  hat,  1810-1813  297 

240.  Straw  bonnet,  1817  .297 

241.  Leghorn  hat,  1825-1829    297 

242.  Straw  hat  of  1818  297 

243.  Bonaparteau  hat,  1804   297 

244.  Bonnet  of  spotted  satin,  1819  297 

215.  Muslin  bonnet,  1816  297 

246.  Gaiter  shoes  and  slippers,  1820-1860.    Lent  by  the  Misses  Cresson  .  297 

247.  Velvet  evening  dress,  1841    307 

248.  Satin  dress  with  lace  flounces,  1843    307 

249.  Satin  ball  dress,  1840    307 

250.  Moire  gown  trimmed  with  lace,  1840    307 

251.  Waved  hair  and  quaint  head-dress,  1850    307 

252.  Evening  dress  and  wrap,  1851    307 

253.  Hat  from  a  fashion  plate  of  1857    317 

254.  Velvet  bonnet  of  1856.    Courtesy  of  Miss  Dutihl   .       .      .  .317 

255.  Silk  dress  of  1855.    Lent  by  Miss  Agnes  Bepplier .       .       .  .317 

256.  Black  velvet  bonnet,  1859.    Courtesy  of  Miss  Dutihl     .      .  .317 

257.  Velvet  wrist  band,  1850-1860    317 

258.  Outdoor  costume.    From  a  portrait,  1852    329 

259.  Quaker  dress,  1890.    Lent  by  Ewing  Mifflin,  Esq.  .       .       .  329 

260.  House  dress  of  black  taffeta.    From  a  photograph  .       .       .  329 

261.  Portrait  showing  a  dress  worn  with  chemisette  and  under-sleeves, 

1850   .  .329 

262.  Old  lady  in  Quaker  dress.    From  a  photograph  lent  by  Miss 

Philadore  Bell  329 

263.  Widow's  mourning,  1838.    From  a  photograph  of  Queen  Adelaide  329 

264.  Mantilla  trimmed  with  lace,  1850.    Lent  by  Mrs.  Caspar  Morris  .  337 

265.  Gentleman  in  walking  dress,  1850    337 

266.  Muslin  gown,  embroidered  flounces,  1853    337 

267.  Gentleman  in  morning  dress,  1855    337 

268.  Silk  dress  with  chine  stripes,  1855.    Lent  by  Miss  Agnes  Eepplier  337 

269.  Poplin  gown  with  velvet  ribbon,  1856.    Lent  by  Mrs.  Talbot  M. 

Bogers  337 


16 


ILLUSTRATIONS 


FIGURE  PAGE 

270.  Black  cloth  suit  and  waistcoat,  1855.    Lent  by  Mrs.  Caspar  Morris  337 

271.  Peignoir  of  cashmere,  1856.  Lent  by  Mrs.  Caspar  Morris      .       .  337 

272.  Bonnet  of  silk  gauze,  1825.    Memorial  Hall  349 

273.  Leghorn  hat,  1825-1830  .       .       .   349 

274.  Taffeta  hat,  1829    349 

275.  Tuscan  straw  bonnet,  1820    349 

276.  Bonnet  of  taffeta,  1830    349 

277.  Chip  bonnet  of  1835       .       .       .   349 

278.  Bonnet  of  white  point  d' esprit,  1833.    Courtesy  of  Miss  Dutihl    .  349 

279.  Bonnet  of  fancy  straw,  1838    349 

280.  Quilted  hood,  1840    349 

281.  Leghorn  bonnet,  1839    349 

282.  Velvet  bonnet,  1860.    Courtesy  of  Miss  Dutihl      .       .       .  .349 

283.  Bonnet  of  horsehair,  1863.    Courtesy  of  Miss  Dutihl     .       .  .349 

284.  Quaker  hat,  1850    357 

285.  Shaker  girl,  1857    .       .   357 

286.  Quaker  bonnet  and  cap,  1860.    Lent  by  Mrs.  Samuel  Chew  .       .  357 

287.  Gray  beaver  hat,  1830    357 

288.  Pencil  sketch  of  Mary  Howitt,  1800    357 

289.  Quaker  costume,  1860.    Lent  by  Mrs.  Samuel  Chew      .       .  .357 

290.  Man  in  Shaker  dress,  1857    357 

291.  Eaiu  cover  for  bonnet,  1840    357 

292.  Girl  in  Shaker  bonnet,  1857    357 

293.  White  silk  Quaker  bonnet,  1S30.  Memorial  Hall,  Philadelphia  .  357 
294-305.  Various  styles  of  hair-dressing  and  stocks,  1800-1860.  From 

contemporary  portraits  365 

306-311.  Fashionable  costumes  for  men.    From  fashion  plates  of  1828- 

1850    373 

312.  Lady  in  fashionable  hoop-skirt,  1860.    From  a  plate    .       .       .  381 

313.  Walking  costume,  1862.    From  a  photograph       ....  381 

314.  Gentleman  in  frock  coat  suit,  1864.    From  a  portrait    .       .       .  381 

315.  Lady  in  dress  of  Chambery  gauze,  1868.    Head  from  contemporary 

portrait  381 

316.  Street  dress  of  1870.     From  a  plate       .       .       .       .    .  .  .381 

317.  Ball  dress  of  Chambery  gauze,  1869       .       .       .       .       .  .381 

318.  Gentleman  in  walking  suit,  1870.  From  a  photograph  .  .  .  381 
319-325.  Fashionable  dress  from  1830-1840.  From  portraits  by  Maclise  391 
326-330.  Fashionable  stocks  and  collar,  1829-1840.    From  old  prints   .  401 

331.  Breadmau,  1813.    From  a  print  401 

332.  Dustman,  1813.    From  a  print  401 

333.  Sailor,  1813.    From  a  print  401 

334.  English  smock,  after  old  print,  1800-1870    401 

335.  White  satin  waistcoat,  1837.    Lent  by  Miss  Sarah  Johnson  .       .  401 


ILLUSTKATIONS  17 


FIGURE  PAGE 

336.  White  linen  coat,  1838.    Lent  by  Miss  Sarah  Johnson  .       .       .  401 

337.  Linen  shirt  of  1830  +   401 

338-339.  Military  coats,  1825.    Lent  by  Stanley  Arthurs,  Esq.     .      .  401 

340.  Chapeau  Bras,  1807.     From  a  print   401 

341.  White  beaver  hat,  1850    401 

342-346.  Boots,  1800-1850    401 

347.  Hat  with  rolling  brim,  1809    .       .       .       .       .       .       .  .401 

348.  Black  high  hat,  1850    401 

349.  Bound  hat,  1865      .       .  .       .  .401 

350.  Plaid  stock  and  waistcoat,  1840  +   411 

351.  Quaker  gentleman,  1840.    From  a  Daguerreotype,  lent  by  Mrs. 

Philadore  Bell      .     •   411 

352.  Long  hair  parted  in  the  middle,  1844.    From  a  portrait  of  J.  B. 

Lowell  '   411 

353.  Clerical  dress,  1845    411 

354.  Official  robe,  1821   411 

355.  Clerical  dress,  1865    411 

356.  Frock  coat  and  standing  collar,  1869    411 

357.  Bishop's  dress  of  1810   411 

358.  Close-fitting  coat  with  black  stock,  1855    411 

359.  Gentleman  in  riding  dress,  1801.    From  a  print   ....  421 

360.  Beau  Brummell,  1804     .       .   421 

361.  Morning  suit,  1806    421 

362.  English  clergyman,  1810  +   421 

363.  Buffled  shirt  with  long  pantaloons  buttoned  to  the  knee,  1812    .  421 

364.  Gentleman  in  great  coat,  1829    421 

365.  Morning  suit  of  1830  +   421 

366.  Hunting  dress,  1833      .       .       .   421 

367.  White  kerseymere  waistcoat,  1830    421 

368.  Waistcoat  and  cascade  necktie,  1837    421 

369.  Gentleman  in  diplomatic  dress,  1842.    Lent  by  Mrs.  George 

McClellan   421 

370.  Hunting  costume,  1850-1860    421 

371.  University  student  of  1850  +  .      .      .      .      .      .      .      .  421 


Contemporary  Rulers 

1800-1870 


PRESIDENTS  OF  THE  UNITED  STATES 


John  Adams,  of  Massachusetts   1797-1801 

Thomas  Jefferson,  of  Virginia   1801-1809 

James  Madison,  of  Virginia   1809-1817 

James  Monroe,  of  Virginia   1817-1825 

John  Quincy  Adams,  of  Massachusetts   1825-1829 

Andrew  Jackson,  of  Tennessee  .   1829-1837 

Martin  Van  Buren,  of  New  York   1837-1841 

William  Henry  Harrison,  of  Ohio   1841-1845 

(Term  finished  by  John  Tyler,  of  Virginia.) 

John  Knox  Polk,  of  Tennessee   1845-1849 

Zachary  Taylor,  of  Louisiana   1849-1853 

(Term  finished  by  Millard  Fillmore,  of  New  York.) 

Franklin  Pierce,  of  New  Hampshire   1853-1857 

James  Buchanan,  of  Pennsylvania   1857-1861 

Abraham  Lincoln,  of  Illinois   1861-1869 

(Term  finished  by  Andrew  Johnson,  of  Tennessee.) 

KINGS  OF  ENGLAND 

George  III  and  the  Eegency       .       .       .       .       .      .      .  1760-1820 

George  IV   1820-1830 

William  IV   1830-1837 

Victoria   1837-1901 

RULERS  OF  FRANCE 

Napoleon,  First  Consul  ,      .       .       .  1800-1804 

Napoleon,  Emperor     .   1804-1814 

Louis  XVIII,  Kiug   1814-1815 

Napoleon,  Emperor  (100  days,  March  20-June  22)    .       .      .  1815 

Louis  XVIII,  King   1815-1824 

Charles  X,  King   1824-1830 

Louis  Philippe,  King   1830-1848 

(Republic  proclaimed  February  25,  1848.) 

Louis  Napoleon,  President   1848-1852 

Louis  Napoleon,  Emperor   1852-1870 


WOMEN'S  DRESS 
1800-1870 


"The  Morning  Post  may  now  display  unfurl' d 
Four  columns  of  the  Fashionable  World, 
And  not  confin'd  to  tell  of  war's  renown, 
Spread  all  the  news  around  of  all  the  town. 
While  gay  gazettes  the  polish'd  Treasury  writes 
Of  splendid  fashions,  not  of  vulgar  fights. 
Proud  to  record  the  tailor's  deeds  and  name 
And  give  the  milliner  to  deathless  fame 
Who  first  shall  force  proud  Gallia  to  confess 
Herself  inferior  in  the  art  of  dress. 
Oil,  join  to  pray  and  hopes  may  not  be  vain 
Commence  gay  Peace  a  long  and  joyous  reign. 
May  Europe's  nations  by  thy  counsels  wise 
Learn  e'en  thy  faults  to  cherish  and  to  prize 
And  shunning  glory's  bright  but  fatal  star 
Prefer  thy  follies  to  the  woes  of  war." 

Prologue  to  11  Fashionable  Friends." 
— Mary  Berry. 


Women's  Dress 


1800-1810 


"  La  Mode  est  un  Tyrant  dont  rien  ne  nous  delivre  ; 
A  son  bizarre  gout  ilfaut  &  accommoder 
Et,  sous  ses  folles  lots  etant  force  de  vivre, 
Le  sage  n' est  jamais  le  premier  a  les  suivre 
Wi  le  dernier  d  les  garder." 

— ^TIENNE  PAVILLON. 

T  the  beginning  of  the  nineteenth  century 
Fashion  reigned  supreme  over  all  the  civi- 
lized countries  on  both  sides  of  the  At- 
lantic, overcoming  geographical  and  even 
political  restrictions.  Monthly  magazines 
with  coloured  plates  of  the  latest  edicts  of 
the  invincible  tyrant  were  published  in 
London  as  well  as  in  Paris,*  and  were 
sent  regularly  to  America  instead  of 
the  fashion  dolls  of  the  preceding  cen- 
tury. One  of  the  earliest  of  these  fashion  books  was  "  The 
Ladies'  European  Magazine  "  edited  by  a  coterie  of  women 
of  fashion  and  first  published  in  London  in  1798.  An- 
other, "  La  Belle  Assemblee,"  or  "  Bell's  Court  and  Fashion- 
able Magazine"  was  issued  regularly  in  London  from  1806 
to  1832,  when  a  new  series  was  started  of  which  the 
Hon.  Mrs.  Norton  was  editor  and  the  name  was  changed  to 
"  The  Court  Magazine  and  Monthly  Critic."    In  addition  to  the 

*  "  Magazin  des  Modes''  was  published  in  Paris  as  early  as  1785,  and  "Galleries  des 
Modes  "  a  year  or  two  later. 

23 


24 


HISTORIC  DRESS  IN  AMERICA 


fashions,  it  contained  serial  stories,  literary  reviews,  and  original 
poetry  contributed  by  the  distinguished  editor.  This  periodical 
was  quite  as  popular  in  the  United  States  as  in  England  and, 
judging  from  the  mutilated  plates  in  the  copies  I  have  seen, 
probably  furnished  several  generations  of  American  children 
with  fascinating  paper  dolls.  A  letter  from  Paris  every  month 
kept  its  readers  in  touch  with  the  court  of  the  "  Great  Mogul," 
as  Walpole  called  fashion,  and  the  Calendar  of  the  English 
Court,  which  formed  the  supplement  of  the  second  series,  was 
evidently  read  with  great  interest  on  both  sides  of  the  ocean. 

Ackermann's  "  Repository,"  published  in  London  in  1809, 
was  another  popular  periodical  which  contained  especially  taste- 
ful plates  of  the  latest  modes.  In  Philadelphia  Mr.  Dennie's 
"  Port  Folio,"  which  appeared  with  the  first  year  of  the  century 
and  had  great  local  celebrity  from  1801  to  1805,  gave  a  column 
or  more  of  its  racy  pages  to  the  novelties  in  dress.  Under  the 
heading  "  Festoon  of  Fashion  "  a  brief  review  of  the  modes 
in  France  and  England  was  given,  but  "Mr.  Oldschool"* 
indulged  only  in  pen  portraits  of  the  costumes.  All  these 
magazines  have  been  long  out  of  print,  but  odd  volumes  of 
them  may  be'  found  in  many  of  our  libraries ;  unlike  their 
successors  of  the  present  day,  they  are  good  reading.  Moreover, 
they  are  faithful  records  of  the  social  life  of  their  time. 

During  the  first  Consulate  and  the  Empire,  France  was 
possessed  with  a  pseudo-classic  mania  in  women's  dress.  This 
revival  of  classicism  is  attributed  by  Ashton  in  his  "  Dawn  of 
the  Nineteenth  Century "  to  the  influence  of  the  painter 
David.  Clinging  draperies  and  Greek  and  Roman  hair-dress- 
ing were  carried  to  an  extreme  which  was  not  noticeable  in 
England  or  America,  although  followed  in  both  countries  to 
some  extent.    The  simple  domestic  tastes  of  George  III  and 

*  Pen  name  of  the  editor. 


HISTORIC  DEESS  IN  AMERICA 


25 


Queen  Charlotte  set  an  example  both  in  dress  and  social 
gayeties  which  was  notably  free  from  extravagance.  The  Eng- 
lish princesses,  so  loved  by  Miss  Burney,  spent  much  of  their 
time  embroidering  their  own  dresses  for  state  functions  ;  while 
in  our  own  country,  President  Adams  and  his  wife  were  living 
very  quietly  and,  according  to  the  graphic  letters  of  the  latter, 
most  uncomfortably  in  the  new  home  of  the  government  in 
Washington,  indulging  in  but  few  entertainments,  and  going  to 
Philadelphia  for  most  of  their  shopping.  When  Madame 
Recamier  visited  London  in  1802  her  "  costume  a  Tantique " 
caused  much  comment.  She  appeared  it  seems  one  day  in 
Kensington  Gardens,  "  in  a  thin  muslin  dress  clinging  to  her 
figure  like  the  folds  of  drapery  in  a  statue,  her  hair  in  a  coil  of 
braids  at  the  back  and  arranged  in  short  ringlets  round  her  face  ; 
a  large  veil  thrown  over  her  head  completed  an  attire  which 
not  unnaturally  caused  her  to  be  followed  and  stared  at."  As 
early  as  1801  Paris  fashions  had  evidently  made  their  way  to 
America,  for  Mrs.  Samuel  Harrison  Smith  writing  from  the 
capital  in  that  year  observes,  "  There  was  a  lady  here  who  af- 
forded us  great  amusement.  I  titled  her  Madame  Eve  and 
called  her  dress  the  fig  leaf."  * 

Letters  of  the  day  give  us  much  information  on  the  subject 
of  the  prevailing  fashions,  but  the  most  valuable  sources  of  the 
history  of  dress  in  the  nineteenth  century  are  the  actual 
garments  which  in  many  cases  have  been  handed  down  to 
posterity  unaltered,  and  afford  a  subtle  insight  into  the  char- 
acter and  taste  of  the  wearers.  An  old  writer  says,  "  As  the 
index  tells  us  the  contents  of  stories  and  directs  to  the  particular 
chapter,  even  so  does  the  external  habit  and  superficial  order  of 
garments  (in  men  and  women)  give  us  a  taste  of  the  internal 
quality  of  the  soul." 

*  First  Forty  Years  of  Washington  Society. 


20 


HISTOEIC  DRESS  IN  AMERICA 


The  numerous  portraits  of  the  day  record  fashionable  cos- 
tumes and  illustrate  the  customary  accessories  and  styles  of  hair- 
dressing.  In  England,  Lawrence,  Beechey,  Hoppner  and 
Russell  achieved  some  of  their  best  work  in  the  early  years  of 
the  nineteenth  century.  Raeburn,  Hayter,  Chalons  and 
Winterhalter  followed  in  their  illustrious  footsteps.  David, 
Vernet,  Ingres,  Le  Brun,  Manet  and  Fontan-Latour  were  the 
great  portrait  painters  of  France  between  1800  and  1870  ;  while, 
in  our  own  country,  Stuart,  Sully,  St.  Memin,  Inman  and 
Healey  have  also  left  immortal  canvasses  which  bear  abundant 
evidence  of  the  transatlantic  sovereignty  of  Fashion. 

"  Fashion  come,  on  me  a  while 
Deign,  fantastic  nymph,  to  smile." 

Looking  through  the  old  magazines  of  1800-1810,  "  Sacred 
to  Dress  and  Beauty's  pleasing  cares,"  we  see  that  the  short 
waists  which  came  into  vogue  at  the  close  of  the  eighteenth  cen- 
tury were  worn  for  at  least  ten  years  of  the  nineteenth  century. 
Skirts  were  very  narrow  and  the  ultra-fashionable  wore  them  of 
very  soft,  sheer,  clinging  materials.  These  gowns  were  the  sub- 
ject of  many  a  satire.  We  read  of  one  critic  "  fond  of  statistics 
who  calculated  that  in  one  year  eighteen  ladies  caught  fire  and 
eighteen  thousand  caught  cold."  Another  wit  of  the  day  re- 
marked, "  The  change  in  the  female  dress  of  late  must  contribute 
very  much  to  domestic  bliss ;  no  man  can  surely  now  complain 
of  petticoat  government."  In  winter,  to  be  sure,  warm  cloaks 
which  completely  covered  the  gowns  were  worn  out-of-doors 
(Figures  42,  59,  96,  98,  102),  but  slippers  or  half-shoes  with  the 
thinnest  of  soles  were  worn  even  for  walking  and  must  have  pre- 
vented the  "  wrapping  cloaks  "  and  big  muffs  (Figures  11,  102) 
from  keeping  the  wearer's  body  at  a  comfortable  degree  of 
warmth. 


HISTOEIC  DEESS  IN  AMERICA 


27 


Perhaps  the  pursuit  of  fashion  is  in  itself  so  stimulating  an 
exercise  that  it  acts  as  a  preventive  and  keeps  off  the  dangers 
apparently  courted  by  her  votaries. 

Bodices  were  exceedingly  short  in  the  early  years  of  the 
nineteenth  century.  The  waist  line  was  entirely  obscured 
(Figures  5,  9,  13,  51,  53,  54,  56,  58,  243).  A  satirical  couplet  of 
the  day  runs  : 

"  Shepherds,  I  have  lost  my  waist 
Have  you  seen  my  body  ?  " 

We  are  all  familiar  with  the  portrait  of  Madame  Recamier 
on  an  Empire  sofa,  her  Grecian  drapery  falling  around  her  in 
graceful  lines  which  could  not  possibly  have  been  maintained  if 
she  stood  up,  or  tried  to  walk.  The  mystery  of  the  possibility 
of  this  fashion  is  explained  (Figures  3-6)  by  the  famous  cari- 
caturist Gillray  whose  pictures  "  give  us  a  glimpse,"  as  Ashton 
says,  "  of  the  mysteries  of  the  toilet  such  as  might  be  sought  in 
vain  elsewhere  ;  and  are  particularly  valuable  as  they  are  in  no 
way  exaggerated  and  supply  details  otherwise  unprocurable." 

The  long  and  close-fitting  stays,  though  not  as  stiff  and  un- 
yielding as  their  predecessors  of  the  eighteenth  century,  pre- 
vented the  untidy  negligee  appearance  the  high-waisted  gowns 
would  have  had  without  them.  As  the  bodices  grew  longer, 
the  stays  grew  shorter  until  1819  or  20  when  the  first  French 
corset  in  two  pieces  and  laced  up  the  back  came  into  fashion 
and  has  retained  its  popularity  ever  since.  A  pair  of  short 
stays  worn  about  1820  may  be  seen  in  the  Rhode  Island  His- 
torical Society's  rooms  at  Newport. 

In  many  old  portraits  we  may  notice  wigs  of  short,  close 
curls  which  were  in  the  height  of  fashion  in  the  year  1800 
(Figures  7,  22),  and  in  a  letter  of  that  date,  written  in  Boston  by 
Elizabeth  Southgate  to  her  mother,  we  find  that  five  dollars 
would  buy  one  of  these  coveted  articles. 


1800-1807 

Figure  2.— 1801— A  Turkish  vest  of  black  velvet.    Tarban  of  muslin  with. 

a  falling  end  fringed  with,  gold  and  a  bird  of  paradise  feather.  Necklace 

of  coral  and  gold  beads. 
Figures  3,  4,  5,  6. — 1800 — Progress  of  the  toilet,  showing  long  stays,  laced 

up  the  back,  the  dress  worn  over  them,  and  the  maid's  costume  of  the 

same  date. 

Figure  7. — 1801 — Afternoon  head-dresses. 

Figure  8.— 1801— Gypsy  hat,  worn  from  1800  to  1810. 

Figure  9. — 1800 — Cap  trimmed  with  Amaranthus  crepe,  locket  watch. 

Figure  10. —1801 — A  velvet  turban  with  a  "banditti"  plume  and  a  veil 

hanging  to  the  shoulders. 
Figure  11. — 1801— Silk  bonnet  with  lace  frills,  silk  spencer  with  short 

sleeves  and  long  ends  trimmed  with  lace,  large  muff  and  fur. 
Figure  12. — 1801 — Morning  dress  of  spotted  muslin,  cap  and  neck-frill 

trimmed  with  lace. 

Figure  13. — 1807 — Summer  walking  costume,  pelisse  and  dress  of  Jaconet 

muslin  and  a  Lavinia  hat  of  straw. 
Figure  14. — 1806 — Dress  of  muslin  with  a  pleated  shoulder- cape,  straw 

bonnet  with  a  silk  crown  to  be  worn  over  a  cap. 


HISTORIC  DRESS  IN  AMERICA 


31 


"  Now  Mamma,  what  do  you  think  I  am  going  to  ask  for  ? — 
a  wig.  Eleanor  has  got  a  new  one  just  like  my  hair  and  only 
five  dollars,  Mrs.  Mayo  one  just  like  it.  I  must  either  cut  my 
hair  or  have  one,  I  cannot  dress  it  at  all  stylish.  Mrs.  Coffin 
bought  Eleanor's  and  says  that  she  will  write  to  Mrs.  Sumner 
to  get  me  one  just  like  it ;  how  much  time  it  will  save — in  one 
year  we  could  save  it  in  pins  and  paper,  besides  the  trouble.  At 
the  Assembly  I  was  quite  ashamed  of  my  head,  for  nobody  has 
long  hair.  If  you  will  consent  to  my  having  one  do  send  me 
over  a  five  dollar  bill  by  the  post  immediately  after  you  receive 
this,  for  I  am  in  hopes  to  have  it  for  the  next  Assembly — do 
send  me  word  immediately  if  you  can  let  me  have  one. 

"  Eliza."  * 

They  were  still  in  fashion  in  1802,  for  Martha  Jefferson 
Randolph  wrote  the  following  letter  to  her  father  just  before  his 
inauguration  as  third  President  of  the  United  States  : 

"  Oct.  29,  1802. 

"  Dear  Papa, — We  received  your  letter,  and  are  prepared 
with  all  speed  to  obey  its  summons.  By  next  Friday  I  hope  we 
shall  be  able  to  fix  a  day  ;  and  probably  the  shortest  time  in 
which  the  horses  can  be  sent  after  receiving  our  letter  will  deter- 
mine it,  though  as  yet  it  is  not  certain  that  we  can  get  off  so  soon. 

"  Will  you  be  so  good  as  to  send  orders  to  the  milliner — 
Madame  Peck,  I  believe  her  name  is,  through  Mrs.  Madison, 
who  very  obligingly  offered  to  execute  any  little  commission  for 
us  in  Philadelphia,  for  two  wigs  of  the  colour  of  the  hair  en- 
closed, and  of  the  most  fashionable  shapes  (Figures  5,  7  and  22), 
that  they  may  be  in  Washington  when  we  arrive  ?  They  are 
universally  worn,  and  will  relieve  us  as  to  the  necessity  of  dress- 
ing our  own  hair,  a  business  in  which  neither  of  us  are  adepts. 

*  A  Girl's  Life  Eighty  Years  Ago. 


32 


HISTOEIC  DEESS  IN  AMEEICA 


"  I  believe  Madame  Peck  is  in  the  habit  of  doing  these 
things,  and  they  can  be  procured  in  a  short  time  from  Philadel- 
phia, where  she  corresponds,  much  handsomer  than  elsewhere. 

"  Adieu,  dearest  Father." 

A  rhyme  current  in  the  early  part  of  the  nineteenth  century 
emphasizes  the  annoyance  of  finding  a  wig  necessary  in  full 
dress : 

"  There  was  an  old  woman  of  Gosport 
And  she  was  one  of  the  cross  sort, 
When  she  dressed  for  the  ball 
Her  wig  was  too  small, 
Which  enraged  this  old  woman  of  Gosport." 

Miss  Southgate  was  born  in  Scarborough,  Maine,  but  spent 
much  of  her  time  in  Boston,  writing  to  her  mother  from  there 
delightfully  intimate  and  chatty  letters,  which  give  a  charming 
picture  of  the  social  life  of  the  time.  The  dances,  the  sleighing 
parties,  etc.,  are  all  vividly  described,  and  her  remarks  about 
dress  are  a  valuable  contribution  to  our  subject. 

"  July  17,  1800. 

"  I  must  again  trouble  my  Dear  Mother  by  requesting  her  to 
send  on  my  spotted  muslin  (Figures  12  and  58).  A  week 
from  next  Saturday  I  set  out  for  Wiscassett,  in  company  with 
Uncle  William  and  Aunt  Porter.  Uncle  will  fetch  Ann  to 
meet  us  there,  and  as  she  has  some  acquaintance  there,  we  shall 
stay  some  time  and  Aunt  will  leave  us  and  return  to  Topsham  ; 
so  long  a  visit  in  Wiscassett  will  oblige  me  to  muster  all  my 
muslins,  for  I  am  informed  they  are  so  monstrous  smart  as  to 
take  no  notice  of  any  lady  that  can  condescend  to  wear  a  calico 
gown.  Therefore,  Dear  Mother,  to  ensure  me  a  favourable  re- 
ception, pray  send  my  spotted  muslin  by  the  next  mail  after 
you  receive  this,  or  I  shall  be  on  my  way  to  Wiscassett.    I  shall 


HISTORIC  DRESS  IN  AMERICA 


33 


go  on  horseback.  How  I  want  my  habit,  I  wish  it  had  not  been 
so  warm  when  I  left  home  and  I  should  have  worn  it  (Fig- 
ure 105).  I  am  in  hopes  you  will  find  an  opportunity  to  send 
it  by  a  private  conveyance  before  I  go,  but  my  muslin  you  must 
certainly  send  by  the  mail."* 

The  sketch  of  a  riding  habit  of  the  period  is  given  in  Figure 
105.  The  jacket  and  skirt  should  be  of  blue  cloth  with  black 
velvet  collar  and  double  rows  of  gilt  buttons  called  "  Nelson's 
balls."  A  close  cap  of  beaver  with  a  gold  braid  around  the 
crown  and  a  feather  in  front.  Gloves  of  fine  tan  leather  and 
half-boots  of  black  Spanish  leather. 

Another  riding  dress  given  in  Figure  106  shows  the  front 
view  of  a  habit  of  1801.  It  is  made  of  dark  blue  kersemere  and 
trimmed  with  three  rows  of  small  blue  buttons  crossed  with 
three  rows  of  blue  silk  cord.  Collar  of  blue  velvet.  A  white 
beaver  hat  with  a  very  narrow  brim  and  two  short  white 
feathers. 

In  a  letter  from  Paris  during  the  First  Consulate,  Miss  Berry, 
in  her  "  Diary  and  Letters,"  describes  an  assembly  at  which  she 
was  present  when  Bonaparte  addressed  each  lady  with  the 
question  :  "  Do  you  ride  on  horseback?  "  Evidently  it  was  the 
correct  thing  for  a  lady  to  do  in  France  as  well  as  in  England 
and  America. 

Miss  Austen  mentions  the  fashionable  muslins  too.  Writ- 
ing to  her  sister  in  1801,  she  says  : 

"  .  .  .  I  shall  want  two  new  coloured  gowns  for  the  sum- 
mer, for  my  pink  one  will  not  do  more  than  clear  me  from 
Steventon.  I  shall  not  trouble  you,  however,  to  get  more  than 
one  of  them,  and  that  is  to  be  a  plain  brown  cambric  muslin, 
for  morning  wear;  the  other,  which  is  to  be  a  very  pretty  yel- 
low and  white  cloud,  I  mean  to  buy  in  Bath.    Buy  two  brown 

*  A  Girl's  Life  Eighty  Years  Ago. 


HISTORIC  DRESS  IN  AMERICA 


ones,  if  you  please,  not  both  of  a  length,  but  one  longer  than 
the  other  ;  it  is  for  a  tall  woman.  Seven  yards  for  my  mother, 
seven  yards  and  a  half  for  me ;  a  dark  brown,  but  the  kind  of 
brown  is  left  to  your  own  choice,  and  I  had  rather  they  were 
different,  as  it  will  be  always  something  to  dispute  about  which 
is  the  prettiest.    The)'  must  be  cambric  muslin."  * 

In  another  letter  written  in  the  same  year  we  read  of  a  new 
wrap  : 

"...  My  cloak  came  on  Tuesday,  and  though  I 
expected  a  good  deal,  the  beauty  of  the  lace  astonished  me. 
It  is  too  handsome  to  be  worn,  almost  too  handsome  to  be 
looked  at."  f 

A  wrap  trimmed  with  lace  is  given  in  Figure  11,  from  a 
plate  of  1801. 

Mrs.  Ravenel  in  her  delightful  book,  "  Charleston,  the 
Place  and  the  People,"  gives  us  the  following  description  of  the 
ball  dresses  worn  in  that  picturesque  city  of  the  South  during 
the  first  quarter  of  the  nineteenth  century. 

"  No  more  the  rich  brocades'  and  damasks,  the  plumes  and 
powder ;  instead  the  scantiest  and  shortest  of  gowns,  bodices  at 
most  eight  inches  long  and  skirts  of  two  or  three  breadths, 
according  to  width  of  stuff  and  size  of  wearer,  coming  barely 
to  the  ankles.  The  stuff  was  the  softest  of  satin,  India  silk,  or 
muslin  that  could  be  found  ;  the  feet  clad  in  heelless  slippers 
tied  with  ribbons  that  crossed  about  the  instep.  The  hair, 
descended  from  the  high  estate  given  it  by  the  last  and  fairest 
of  French  queens,  hung  in  loose  waves  upon  the  neck  until  the 
awful  fashion  of  wigs  came  in.  When  that  strange  mania 
prevailed,  it  was  hardly  thought  decent  to  wear  one's  own  hair. 
No  matter  how  long,  how  thick,  how  beautiful,  the  ruthless 
scissors  must  clip  it  close  and  a  horrible  construction  by  a  hair- 

*  Letters  of  Jane  Austen.    Edited  hy  Lord  Brabonrne.  f  H»'d. 


HISTORIC  DRESS  IN  AMERICA 


35 


dresser  take  its  place.  The  wig  fashion  did  not  last  long,  only 
a  year  or  two,  then  came  the  Grecian  bands  and  plaits  with 
short  curls  on  the  forehead,  and  next  turbans." 

Turbans,  capotes  and  head-dresses  of  every  possible  material 
were  in  the  height  of  fashion  in  the  early  years  of  the  century. 
All  the  young  ladies  of  that  time  were  on  the  alert  to  get  the 
newest  designs  and  the  following  extract  from  an  unpublished 
letter  written  by  a  Miss  Smith  in  Philadelphia  to  a  Miss  Yeates 
of  Lancaster,  dated  September  14,  1800,  proves  that  it  was 
fashionable  to  decorate  turbans  with  hand  painting. 

"  In  the  pacquet  you  will  find  three  painted  Tiffany 
Turbans,  of  which  I  beg  your  acceptance  of  one,  &  Betsy  & 
Kitty  of  the  others.  They  are  not  as  well  done  as  I  could  wish, 
but  they  are  as  well  done  as  I  who  never  learnt  to  draw  could 
do  them."  * 

In  Figures  2  and  7  specimens  of  fashionable  head-dresses  are 
given  taken  from  the  "  Ladies'  Monthly  Museum  "  for  January 
and  March,  1801,  which  show  that  feathers  and  turbans  were 
both  worn  with  short  hair. 

In  the  "Festoon  of  Fashion"  for  October,  1801,  is  the 
following  entry  : 

"A  round  dress  of  thick  white  muslin  (Figure  13)  ;  a  pelisse 
of  cambric  muslin,  trimmed  all  round  ;  long  sleeves.  A  bonnet 
of  buff  silk,  trimmed  with  purple  ribbon. 

"  A  round  dress  of  white  muslin,  drawn  close  round  the 
throat  with  a  double  frill  (Figure  12) ;  long  sleeves.  A  green 
handkerchief  tied  carelessly  round  the  neck.  A  straw  hat, 
turned  up  in  front,  and  trimmed  with  green  ribbons 
(Figures  27  and  31). 

"  A  black  silk  hat,  turned  up  in  front,  with  a  full  crown, 
and  ornamented  with  black  feathers.    A  white  muslin  bonnet, 

*  Extract  from  letter  to  Miss  M.  Yeates,  Lancaster. 


3G 


I1IST0KIC  DRESS  IN  AMERICA 


trimmed  and  tied  under  the  chin  with  white  ribbon  (Fig- 
ure 23). 

"  A  straw  hat,  turned  up  before,  and  lined  with  blue ;  blue 
ostrich  feathers  in  front. 

"  A  bonnet  of  dark  green  silk,  two  ostrich  feathers  of  the 
same  colour,  placed  in  front,  to  fall  contrary  ways,  a  bow  of 
green,  edged  with  white,  on  the  left  side. 

"  A  bonnet  of  pea-green,  or  other  coloured  silk,  tied  under 
the  chin,  and  ornamented  with  white  feathers. 

"  A  cap  of  white  and  lilac  muslin. 

"  A  wreath  of  oak  or  laurel  through  the  hair." 

We  are  further  informed  :  "  The  most  fashionable  colours 
are  buff,  scarlet,  and  blue  for  flowers  and  feathers,  but  white 
dresses  are  the  most  prevalent." 

Two  morning  costumes  of  that  year  are  copied  from  the 
"Ladies'  Monthly  Museum"  for  March,  1801  (Figures  11 
and  12). 

Bonnets  were  small  and  close-fitting  and  evidently  of  a 
variety  of  materials.  We  read  in  this  same  Philadelphia 
publication  for  1802  of  "  a  bonnet  of  black  velvet  trimmed  with 
a  deep  black  lace  round  the  front.  A  close  bonnet  of  purple,  or 
other  coloured  silk,  trimmed  with  ribbon  of  the  same  colour 
and  ornamented  with  a  flower  in  front.  A  bonnet  of  black 
velvet,  turned  up  in  front,  and  lined  and  trimmed  with  scarlet, 
a  scarlet  feather  in  front.  A  domestic  or  undress  cap  of  fine 
muslin  (Figure  12).  A  bonnet  of  pink  silk,  trimmed  with 
black  ribbon  and  a  black  feather ;  black  lace  round  the  front. 
A  dress  hat  of  white  satin,  turned  up  in  front,  and  trimmed 
with  purple  velvet.  A  hat  of  brown  velvet,  turned  up  in 
front,  and  trimmed  with  pink  ;  bows  before  and  behind." 

As  shown  in  Figures  24,  27  and  31,  hats  were  small  in  the 
first  years  of  the  nineteenth  century,  but  the  following  extract 


HISTORIC  DRESS  IN  AMERICA 


37 


from  "  Lady  Brownlow's  Reminiscences "  suggests  that  it  was 
not  the  fashion  to  wear  anything  on  the  head  in  Paris  in  1802. 

"  It  was  the  month  of  November  and  cold  weather  and 
therefore  the  walking  dress  of  the  majority  of  the  women  sur- 
prised us  not  a  little.  It  consisted  of  a  gown  tres  decolletee,  and 
extremely  short-waisted,  with  apparently  only  one  garment 
under  it ;  this  gown  they  held  up  so  as  to  discover  one  jambe,  a 
shawl  hung  over  the  shoulders,  the  feet  chaussees  in  their  slip- 
pers, no  bonnet,  or  cap,  and  the  curls  on  each  side  of  the  face 
greasy  with  huile  antique.''1  This  description  recalls  the  remark 
of  Madame  Jerome  Bonaparte  that  dress  at  that  time  was 
chiefly  an  aid  to  setting  off  beauty  to  advantage  ;  and  her  own 
famous  wedding-gown  of  India  muslin  and  old  lace,  which  one 
of  the  guests  declared  he  could  have  easily  put  into  his  pocket. 
But  the  fact  that  this  airy  costume  excited  so  much  comment  at 
the  time  it  was  worn  proves  that  it  was  very  unusual  even  in 
those  days  of  scanty  drapery.  It  was  a  caprice  of  fashion  im- 
possible for  ordinary  mortals  to  follow. 

In  February,  1802,  a  striking  walking  costume  is  described  : 
"  Round  dress  of  white  muslin,  under  a  Hungarian  cloak  made 
of  scarlet  silk  trimmed  all  round  with  black  lace.  A  bonnet  of 
the  same  colour  as  the  cloak,  trimmed  with  black  lace  and  or- 
namented with  flowers  of  the  same  colour." 

Then  comes  the  description  of  a  ball  dress  :  "  A  short  robe 
of  fine  muslin  with  a  train  of  the  same  :  the  robe  made  plain 
over  the  bosom,  with  additional  fronts,  to  fly  open  from  the 
shoulders.  The  whole  bound  with  scarlet  ribbon,  the  sleeves 
and  the  robe  from  the  shoulders  to  the  bottom  ornamented 
with  scarlet  ribbon.  The  bosom  trimmed  round  with  deep 
white  lace.  A  hat  of  white  silk,  turned  up  in  front,  and  lined 
with  scarlet ;  a  feather  of  the  same  colour  fixed  in  front,  to  fall 
over  the  crown." 


1800-1810 

Figure  15. — 1807 — Fashionable  hair  arrangement.  From  a  portrait  by 
Hopner. 

Figure  16. — 1808 — Evening  head-dress.    From  a  contemporary  portrait. 

Figure  17. — 1806 — A  scarf  of  India  muslin  worn  like  a  turban.  From  a 
portrait  of  the  Princess  Amelia. 

Figure  18. — 1810 — Muslin  turban,  with  the  front  hair  arranged  in  bow- 
knot.    From  a  portrait  of  the  Princess  Mary. 

Figure  19. — 1806 — Head-dress  of  India  muslin.  From  a  portrait  by 
Lawrence. 

Figure  20. — 1805 — Head-dress  of  white  mull.  From  a  portrait  by  St. 
Memin. 

Figure  21.  — 1800 — Arrangement  of  short  hair  fashionable  in  the  early 
years  of  the  century.    From  a  contemporary  portrait. 

Figure  22. — 1810 — Simple  arrangement  of  hair,  fashionable  at  the  period. 
From  a  contemporary  miniature. 


HISTORIC  DRESS  IN  AMERICA 


41 


A  letter  on  London  Fashions  for  the  winter  season  of  1802 
also  describes  evening  dresses  worn  with  hats  : 

"  A  dancing  frock  of  white  muslin  ;  the  train  very  long,  and 
trimmed  round  the  bottom  with  black  and  yellow  trimming  ; 
over  the  train  a  plain  drapery  trimmed  all  round  to  match  the 
train  ;  the  back  plain,  and  ornamented  with  alternate  bows  of 
black  and  yellow  ;  full  sleeves  of  lace  and  muslin.  Small  hat 
of  white  satin,  turned  up  in  front,  and  ornamented  with  black 
and  yellow  ostrich  feathers. 

"  An  opera  dress,  made  of  white  satin,  and  trimmed  with 
swansdown.  A  mantle  of  the  same,  trimmed  also  with  swans- 
down.  A  hat  of  black  velvet,  ornamented  with  one  large  os- 
trich feather."  * 

During  a  visit  to  Paris  in  1802  Miss  Berry  describes  a  cos- 
tume of  Madame  Napoleon  Bonaparte :  "  A  smart  demi-parure, 
a  pink  slight  silk  gown  with  a  pink  velvet  spot  upon  it,  a  small 
white  satin  hat  with  two  small  feathers,  tied  under  the  chin."  f 
And  in  England  we  find  fanciful  caps  were  as  important  an  ac- 
cessory of  evening  dress  as  they  had  been  in  the  time  of  George 
I  and  George  II.  Some  of  the  descriptions  sound  very  attract- 
ive ;  for  instance  :  "  A  cap  of  white  lace  with  a  deep  lace 
border  ;  bows  of  white  ribbon  on  the  front  and  left  side.  A  cap 
of  fine  muslin,  the  front  finished  with  white  ribbon  ;  the  crown 
full,  and  finished  on  the  left  side  with  a  long  end.  A  cap  of 
lace,  made  open  behind  to  show  the  hair,  and  ornamented  with 
an  ostrich  feather.  A  cap  of  white  satin,  ornamented  with  a 
small  wreath  of  flowers.  A  close  cap  of  white  satin,  trimmed 
round  the  front  with  fancy  trimming,  and  ornamented  with 
flowers.  A  Parisian  cap,  made  of  worked  muslin,  lined 
with  pink  silk  ;  a  deep  lace  border  round  the  front.  A 
cap    of    lace,    drawn    up   close  behind,    and  finished  with 

*  Port  Folio,  1802,  Festoon  of  Fashion.  |  Diary  and  Letters  of  Miss  Berry. 


42 


HISTORIC  DRESS  IX  AMERICA 


a  luce  frill;  a  coquelicot  feather  (Figure  10)  or  flower  in  front  " 

(Figure  9). 

A  novelty  of  the  spring  of  1802  was  the  Bonapartian  hat. 
We  read  of  one  made  of  "  salmon-coloured  satin,  in  the  form  of 
a  helmet,  surrounded  with  a  wreath  of  laurel,"  and  in  Figure 
243  a  picture  of  one  is  given  made  of  white  gauze. 

Plain  white  chip  hats  in  the  Gipsy  style,  without 
any  ornament  whatever,  tied  carelessly  under  the  chin 
with  coloured  ribbon  "  were  popular  for  a  number  of  years  " 
(Figure  8). 

Among  the  London  modes  we  find  described  the  "  Archer 
dress,  a  petticoat  without  any  train,  with  a  border  of  green  or 
blue ;  a  blue  or  green  sarsnet  bodice,  vandyked  at  bottom  ; 
loose  chemise  sleeves,  and  no  handkerchief.  The  head-dress,  a 
small  white  or  blue  satin  hat,  turned  up  in  front."  We  also 
learn  that  "  brown,  grey,  or  olive  silk  stockings,  with  yellow 
or  orange  cloaks,  are  worn  by  the  ladies  " ;  that  "  feathers  and 
flowers  continue  to  be  much  worn,  and  wreaths  of  roses 
on  the  hair  for  full  dress,  in  preference  to  more  cumbrous  or- 
naments "  (Figure  160)  ;  and  that  small  watches  "  are  worn, 
by  a  few  dashing  belles,  on  their  bosoms,  not  bigger  than  the 
round  of  an  half  guinea." 

These  were  called  locket  watches  and  were  suspended  by  a 
gold  chain  from  the  neck  (Figure  9). 

Short  pelisses  (Figure  27)  of  black  lace  or  of  black  silk 
lined  with  scarlet  or  purple,  and  trimmed  all  round  with  fur  or 
lace,  were  very  much  worn  (Figure  11). 

A  note  on  Parisian  Fashions  for  the  same  winter  (1802) 
gives  the  information  that  "buff  colour  satin  hats,  with 
amaranthus  colour  drapery,  are  very  fashionable  ;  "  as  are  also 
"  apricot  velvet  hats,  trimmed  with  amaranthus  colour  ribbons 
with  gold  stripes,  and  feathers  of  the  same  colour ; "  and  those 


HISTORIC  DRESS  IN  AMERICA 


43 


of  "  capucine  colour  velvet,  with  ribbons  of  the  same  colour, 
and  some  of  pale  blue  velvet  with  blue  feathers." 

"  The  head-dresses  in  hair  (Figure  18),  which  were  entirely 
out  of  fashion,  are  again  in  favour ;  some  ornamented  with  a 
polished  steel  diadem.  The  caps  worn  under  turbans  are 
generally  made  of  black  velvet  instead  of  poppy-colour. 

"Morning  caps  are  of  white  crape  and  have  bands  of  Chinese 
ribbon  across  them.  The  ends  of  the  ribbons  are  left  very  long, 
and  cut  in  the  form  of  horns."  For  illustrations  of  caps  see 
Figures  16,  18,  20,  21,  34,  35,  36,  37,  and  38. 

From  Paris  we  hear  that  "  silk  stuffs  are  adopted  for  full 
dress  for  the  winter,  and  muslins  for  undress.  The  robes  de  bals 
d  la  Clotilde,  d  la  Hebe,  a  la  Syrene,  the  Swiss,  Italian  and 
Spanish  dresses  are  all  made  of  these  materials."  We  also  learn 
of  an  alluring  invention  in  cloaks  called  belles  douittettes  a  la 
Russiene. 

"  These  cloaks  are  of  three  cuts,  and  three  different  sorts  of 
wadding  according  to  the  needs  of  the  wearer.  They  are  also 
adapted  to  different  figures,  some  for  slender  persons,  some  for 
en  bonpoint,  and  some  for  those  who  are  much  encumbered 
with  flesh.  They  are  extremely  convenient,  and  find  a  ready 
admittance  into  fashionable  society."  Apparently  nobody  of 
any  size  could  object  to  them. 

Short  pelisses  and  spencers,  garments  resembling  jackets 
with  the  skirt  cut  off,  were  very  popular  in  all  materials  and 
colours  from  1800  to  1820  (Figures  11,  27). 

"  Nine  heads  "  are  described  in  the  "  Port  Folio  "  for  1802  : 

1.  "  A  bonnet  of  blue  satin,  trimmed  round  the  front  with 
deep  black  lace,  and  ornamented  with  black  feathers. 

2.  "  A  bonnet  of  white  satin,  made  open  at  top  to  admit  the 
hair,  and  trimmed  all  round  with  chenille  trimming  ;  two  white 
feathers  in  front. 


44 


HISTORIC  DRESS  IN  AMERICA 


3.  "  A  hat  of  brown  velvet,  turned  up  in  front,  and  lined 
with  yellow ;  brown  and  yellow  feathers  in  front. 

4.  "  A  cap  of  white  velvet,  spotted  with  gold,  and  with 
gold  trimmings. 

5.  "  A  bonnet  of  white  satin,  and  yellow  crape,  ornamented 
with  a  white  flower,  and  with  yellow  and  white  ribbons. 

6.  "  A  cap  of  white  muslin,  trimmed  with  gold  trimming, 
three  white  ostrich  feathers  fixed  on  the  right  side  to  hang  in 
front. 

7.  "  The  hair  dressed  in  the  present  fashion,  and  banded 
with  gold. 

8.  "  Round  bonnet  of  velvet  and  trimmed  with  steel  beads, 
purple  feather  in  front. 

9.  "  Turban  of  white  satin,  with  a  band  of  muslin  round 
the  front,  fastened  on  the  left  side  with  a  gold  loop ;  gold 
flower  in  front." 

In  the  same  year  (1802)  mention  is  made  of  two  very 
pretty  costumes  worn  by  American  ladies  at  the  court  of 
St.  James. 

"  In  the  beginning  of  April  last,  at  the  queen's  drawing- 
room,  Mrs.  Derby,  of  Boston,  was  presented  by  Mrs.  King,  and 
was  much  admired  for  her  beauty,  and  the  simplicity  of  her 
dress,  which  was  of  white  crape,  and  tastefully  arranged  with 
wreaths  of  white  flowers  and  beads. 

"Miss  Bingham,  who  was  likewise  presented  by  Mrs.  King, 
wore  a  black  crape  petticoat  richly  embroidered  with  black 
bugles  and  beads,  bodice  and  train  to  correspond.  Head-dress, 
tiara  of  bugles  with  diamonds  and  feathers." 

Among  the  London  Fashions  a  quaint  walking  dress  is 
described  :  "  A  dress  of  white  cambric,  made  close  round  the 
neck  with  a  collar.  A  spencer  of  lilac  silk,  trimmed  with  lace. 
Large  straw  hat,  looped  up  in  front  with  a  straw  button  and 


HISTOEIC  DKESS  IN  AMEEICA 


45 


tied  under  the  chin  with  ribbon."  Also  :  "  A  round  dress  of 
sprigged  muslin,  long  cloak  of  cambric  muslin,  trimmed  all 
round  with  lace  ;  close  bonnet,  trimmed  and  ornamented  with 
lilac." 

Reticules  were  so  universally  carried  during  the  first  part  of 
the  nineteenth  century  that  they  were  popularly  called  "  In- 
dispensables,"  and  a  few  years  later  ridicules.  Miss  Southgate 
describes  one  in  a  letter  in  1802  :  * 

"  Martha  sent  me  a  most  elegant  Indispensable,  white  lute- 
string spangled  with  silver,  and  a  beautiful  bracelet  for  the  arm 
made  of  her  hair ;  she  is  too  good  to  love  me,  as  she  says,  more 
than  ever." 

Under  date  of  June  18,  1803,  the  writer  speaks  of  half  hand- 
kerchiefs as  a  new  fashion  : 

"  I  am  just  going  to  set  off  for  Long  Island  and  therefore 
promise  but  a  short  letter.  I  have  a  mantua  maker  here  mak- 
ing you  a  gown  which  I  hope  to  have  finished  to  send  by  Mrs. 
Rodman.  The  fashions  are  remarkably  plain,  sleeves  much 
longer  than  ours  and  half  handkerchiefs  are  universally  worn. 
At  Mrs.  Henderson's  party  there  was  but  one  lady  except 
myself  without  a  handkerchief,  dressed  as  plain  as  possible,  the 
most  fashionable  women  the  plainest.  I  have  got  you  a  pretty 
India  spotted  muslin,  'tis  fashionable  here."  f 

"  Mr.  Oldschool  "  is  responsible  for  the  following  : 

"  Receipt  to  Make  a  Fashionable  Lady 
"  Take  about  eight  yards  of  gingham,  or  sprig  muslin,  that 
is  seamed  together  in  the  form  of  a  Churchman's  pulpit  robe. 
Slip  on  this  easy  frock,  draw  it  across  the  shoulders,  girt  it 
round  about,  and  across  the  middle ;  and  let  the  end  of  it  sweep 

*  A  Girl's  Life  Eighty  Years  Ago,  by  Eliza  Southgate  Bowne. 
f  Ibid. 


46 


HISTOEIC  DRESS  IN  AMERICA 


at  least  a  quarter  on  the  ground.  The  flowing  tresses,  which 
Nature  in  her  luxuriance  designed  to  adorn  and  cover  the 
shoulders,  must  be  stuffed,  powdered,  knit  at  the  end,  and 
folded  up  under  the  turban  a  la  mode,  in  the  exact  form  of 
her  refrigerating  hand  weapon.  To  the  many  other  embellish- 
ments of  the  head-dress  must  be  added  a  quarter  and  a  half  of 
black  or  green  silk  love  crape,  to  defend  from  the  insolence  of 
the  sun-beams  and  render  the  inhabitant  within  mosquito  proof. 
Place  this  figure  in  a  pair  of  red  or  blue  Morocco  slippers,  and 
set  her  a-walking  on  the  pavement,  Phaon  by  her  side,  and  the 
work  is  complete. 

"  N.  B.  To  make  her  irresistible  she  must,  at  every  other 
step,  give  her  head  a  toss,  smack  her  lips  and  turn  up  her  eyes 
to  her  beloved  country  the  Moon  :  making  it  evident,  that  she 
is  none  of  the  mean-spirited  beings  that  delight  in  things 
below." 

The  following  parody  is  also  from  the  caustic  pen  of  the 
editor  of  the  "  Port  Folio  "  : 

"An  Exercise  of  the  Lips 
"  Moisten  your  lips 
Bite  your  lips 
Open  your  lips 
Close  your  lips 
Pout  your  lips 
Eest  your  lips." 

From  the  advertisements  of  that  time  one  gleans  many 
amusing  notes.  The  following  is  a  Philadelphia  hair-dresser's 
announcement  for  1802  : 

"  Ross  respectfully  informs  the  ladies  that  he  has  on  exhibi- 
tion a  most  elegant  and  whimsical  head-dress,  calculated  either 
for  mask  balls,  full  dress,  or  undress,  and  may  be  worn  instead 
of  a  veil,  having  the  peculiar  quality  of  changing  its  shape,  occa- 


HISTORIC  DRESS  IN  AMERICA 


47 


sionally  covering  the  whole  face,  yet  capable  of  being  disposed 
into  wandering  ringlets  ;  as  a  mask  the  disguise  is  complete  with- 
out oppression  ;  as  a  veil  it  protects  without  the  dull  uniformity 
of  drapery,  and  may  be  scented  to  the  perfume  of  any  flower ; 
for  beauty  it  cannot  be  surpassed,  and  for  simplicity  it  stands 
unrivalled.  The  patent  was  granted  by  the  Goddess  of  taste, 
inspired  by  the  spirit  of  fancy,  secured  from  imitation  by  the 
genius  of  merit,  patronized  by  the  votaries  of  elegance,  and  ex- 
hibited in  the  temple  of  fashion." 

And  this  device  of  a  London  hair-dresser  reminds  one  very 
much  of  the  transformation  arrangements  of  the  present  day  : 

"  Mr.  T.  Bowman  of  London,  peruke  maker,  etc.,  gives  a 
noble  specimen  of  a  disinterested  spirit,  when  he  tells  the  ladies 
that  his  '  Full  dress  patent  head-dresses  are  beautifully  simple 
when  folded  up  and  fastened  with  a  bodkin  ;  are  easily  dressed 
in  any  style  the  best  head  of  hair  is  capable  of,  and  much 
superior  in  beauty.'     Price  6,  8,  10,  12,  15  and  twenty  guineas!" 

While  on  the  subject  of  hair-dressing,  it  may  be  well  to  quote 
another  London  advertisement  which  assuredly  promises  a  great 
deal  : 

"  To  those  who  are  ashamed  of  red  hair,  which  the  Romans 
thought  a  beauty,  and  to  those  who  are  ashamed  of  grey  hair, 
which  many  think  looks  venerable,  we  must  recommend  the  fol- 
lowing suggestions  by  the  ingenious  Mr.  Overton,  who  seems  to 
contradict  the  Scripture  assertion,  '  Thou  canst  not  make  one 
hair  white  or  black  ' : 

"  To  the  nobility,  gentry,  etc.  .  .  .  No.  47,  New  Bond 
Street,  Mr.  Overton's,  where  may  be  seen  specimens  of  red  or 
grey  hair  changed  to  various  beautiful  and  natural  shades  of 
flaxen,  brown,  or  black.  As  many  ladies  are  compelled  from 
their  hair  changing  grey,  at  a  very  early  period,  to  adopt  the  use 
of  wigs,  such  ladies  are  respectfully  informed  that  their  own 


1806-1812 

Figure  23.— 1808 — Dress,  mantle  and  gloves  from  original  costume.  Bonnet 

of  white  straw  with  full  crown  of  silk  and  bows  of  taffeta  ribbon. 
Figure  24. — 1806 — Hat  of  fancy  straw,  with  veil. 
Figure  25. — 1806 — Turban  and  earrings. 

Figure  26. — 1808 — Sketch  of  an  original  gown  made  of  white  muslin,  em- 
broidered with  "Smyrna  work  "  in  red  and  green.  Head  with  muslin 
turban. 

Figure  27. — 1802 — Spencer  of  black  lace.  Hat  turned  up  in  front  and  tied 
under  the  chin. 

Figure  28. — 1808 — Gown  of  India  muslin,  embroidered  with  silver.  Head 
from  a  portrait. 

Figure  29. — 1812 — Back  of  sage-green  pelisse.    Hat  with  feather. 
Figure  30. — 1808 — Back  view  of  white  satin  gown  in  Figure  56.  Head 

from  a  portrait. 
Figure  31. — 1805 — Hat  of  fancy  straw,  turned  up  in  front. 
Figure  32.— 1808— Evening  hat. 

Figure  33. — 1808 — Gown  of  white  India  muslin  with  stripes  of  fine  drawn- 
work.  The  hair  curled  under  a  "  half-turban  "  of  white  mull  trimmed 
with  lace,  is  from  a  contemporary  portrait. 


HISTORIC  DRESS  IN  AMERICA 


51 


hair  may  be  changed  to  any  shade  they  choose,  in  the  course  of 
a  few  hours,  by  the  use  of  the  never-failing  tricosian  fluid,  and 
such  is  its  permanency,  that  neither  the  application  of  powder, 
pomatum,  or  even  washing,  will  in  the  least  alter  the  colour. 
It  is  easy  in  application,  and  may  be  used  at  any  season  of  the 
year,  without  danger  of  taking  cold,  being  a  composition  of  the 
richest  aromatics,  and  highly  beneficial  in  nervous  headaches, 
or  weakness  of  the  eyes.  To  convince  the  nobility,  etc.,  any 
lady  sending  a  lock  of  her  hair,  post  paid  (sealed  with  her  arms 
so  as  to  prevent  deception),  shall  have  it  returned  the  next  day, 
changed  to  any  colour  shown  at  the  places  of  sale.  Sold  in 
bottles  at  one  pound  one  shilling  by  Mr.  Golding,  perfumer  to 
her  majesty,  Cornhill ;  Mr.  Overton,  No.  47  New  Bond  Street ; 
Mr.  Wright,  Wade's  Passage,  Bath,  and  nowhere  else  in  the 
kingdom."  * 

The  following  squib  on  the  subject  of  the  scanty  draperies 
worn  by  the  most  ardent  votaries  of  Fashion,  is  taken  from  a 
Paris  journal : 

"  The  Pin 

"Our  neighbours,  the  English,  if  we  may  judge  from  their 
marriage  contracts,  are,  or  at  least  were,  the  greatest  consumers 
of  pins  in  the  world.  Nothing  is  more  usual  than  for  a  lady  of 
fashion  to  be  allowed  a  thousand  pounds  sterling  a  year  for  the 
single  article  of  pins.  Historians  relate  that  in  those  days 
when  pin-money  was  first  introduced  the  English  ladies  con- 
sumed a  vast  number  of  pins  to  fasten  their  clothes.  In  pro- 
cess of  time,  however,  the  consumption  of  pins  has  decreased, 
and  in  exact  proportion  with  the  diminution  of  drapery.  At 
Paris,  God  knows,  a  husband  will  not  be  ruined  by  the  expense 
of  pins.  Now-a-days,  an  elegante  makes  almost  as  little  use  of  a 
pin  as  of  a  needle."  f 

*  Port  Folio,  July  3,  1802,  Festoon  of  Fashion.  t  Ibid. 


52 


HISTORIC  DRESS  IN  AMERICA 


Although  bodices  were  cut  very  low  and  displayed  a  great 
deal  of  neck,  tuckers  or  frills  of  lace  were  generally  worn  as  we 
may  notice  in  contemporary  portraits,  always  more  reliable 
sources  of  the  history  of  dress  than  the  fashion  plates.  Fans 
were  small  at  this  period  (Figure  56).  In  the  "  Port  Folio  " 
for  1802  appeared  this  anecdote  : 

"  A  finished  coquette  at  a  ball  asked  a  gentleman  near  her 
while  she  adjusted  her  tucker,  whether  he  could  flirt  a  fan 
which  she  held  in  her  hand.  '  No,  Madam,'  answered  he,  pro- 
ceeding to  use  it,  '  but  I  can  fan  a  flirt.'  " 

As  will  be  seen  in  the  illustrations  given,  there  were  not  any 
marked  changes  in  the  shape  and  cut  of  gowns  or  wraps  during 
the  first  decade  of  the  nineteenth  century,  but  on  the  other 
hand  an  endless  variety  of  head-dresses,  trimmings  and  acces- 
sories followed  with  bewildering  rapidity,  and  the  names  it  was 
the  fashion  to  give  each  innovation  would  fill  a  dictionary. 

"  Variety  is  the  very  spice  of  life 
And  lends  it  half  its  charm." 

These  names  are  worthy  of  mention,  however,  as  by  means  of 
them  the  current  historical  events  can  be  traced  even  in  the 
pages  of  a  "  Magazin  des  Modes."  It  was  an  age  of  sentiment 
as  well  as  of  variety.  Young  ladies  took  great  delight  in  the 
most  romantic  and  fanciful  nicknames.  A  couplet  by  Coleridge 
published  in  a  periodical  of  1803  runs : 

"  I  aslced  my  fair  one  happy  day, 
What  I  should  call  her  in  my  lay  ; 

By  what  sweet  name  from  Rome  or  Greece ; 
Lalage,  Neaera,  Ohloris, 
Sappho,  Lesbia  or  Doris, 

Arethusa  or  Lucrece  1 


HISTORIC  DRESS  IN  AMERICA 


53 


"  '  Ab,'  replied  my  gentle  fair, 

'  Beloved,  what  are  names  but  air  ? 

Choose  thou  whatever  suits  the  line  ; 
Call  me  Sappho,  call  me  Chloris, 
Call  me  Lalage  or  Doris, 
Only,  only  call  me  thine.'  " 

Trains  and  round  skirts  were  both  worn,  but  all  the  gowns 
were  very  scanty,  the  latter  measuring  scarcely  more  than  two 
yards  at  the  bottom.  (See  Figures  5,  12,  51,  53,  54,  56  and  58.) 
The  waists  were  made  with  a  little  fullness  in  front  and  cut 
very  low  about  the  shoulders.  Guimpes  of  muslin  with  or  with- 
out sleeves  were  worn  on  ordinary  occasions  (Figure  54),  also 
low-necked  dresses  with  long  sleeves  which  could  easily  be  re- 
moved, leaving  the  little  puffs  or  short  sleeves  on  the  shoulders. 
Pin  tucks  and  heavy  cords  were  very  much  used  for  trimming. 
(See  Figures  53  and  54.) 

The  costume  of  a  French  "  milliner's  assistant "  given  in 
the  initial  at  the  head  of  this  chapter,  is  taken  from  an  old 
print  of  1804,  and  shows  a  bonnet  with  a  high  crown  tied  at 
one  side  of  the  chin,  a  kerchief  knotted  round  the  throat,  a 
low-necked  dress  with  short  sleeves,  and  a  very  long  apron.  An 
English  or  an  American  girl  of  the  same  class  would  probably 
have  worn  a  cape  or  a  spencer  covering  the  arms  and  shoulders. 

Fur  was  worn  too  as  trimming,  and  large  muffs  (Figure  11) 
of  it  were  carried,  not  only  in  winter  when  they  were  needed, 
but  they  are  often  seen  in  many  of  the  early  fashion  plates  from 
1800  to  1810  with  straw  hats  and  muslin  costumes.  In  the 
"  Port  Folio  "  for  1803  we  read  : 

"  The  contest  between  muffs  and  muslins  is  at  present  very 
severe  among  the  ladies,  most  of  whom  condescend  to  keep 
their  hands  warm,  though  the  cold  and  thin  clothing  should  dye 
parts  of  their  sweet  persons  an  imperial  purple." 


r»4 


HISTORIC  DRESS  IN  AMERICA 


Slippers  with  astonishingly  thin  soles  and  no  heels  (see  Fig- 
ures 3,  11,  26  and  54)  were  worn  to  match  or  contrast  with  the 
dress,  and  the  long  gloves  as  shown  in  Figures  5,  14,  28  and  51 
were  made  of  lace,  linen,  or  kid.  Veils  were  long  and  usually  of 
very  delicate  lace.  Muffs  were  large  and  made  of  beaver,  chin- 
chilla and  swansdown.  Chintz,  lace,  cambric,  tissue,  gauze, 
silk,  satin  and  brocade  were  alike  fashionable  and  worn  as  oc- 
casion required. 

"  If  on  her  we  see  display' d 
Pendant  gems  aud  rich  brocade, 
If  her  chintz  with  less  expense 
Flows  in  easy  negligence. " 

It  is  said  that  "  to  encourage  commerce,  Napoleon  bade  his 
wife  entertain  as  much  as  possible,  thus  setting  an  example  to 
all  those  whose  means  permitted  display.  Josephine,  who  de- 
lighted in  dress  as  much  as  ever,  although  her  charms  were 
somewhat  dimmed,  was  only  too  glad  of  any  pretext  for  devis- 
ing new  costumes,  upon  which  she  spent  much  time,  and  no 
less  than  a  million  francs  per  year.  Her  budget  of  expenses, 
which  is  not  without  interest,  included  in  one  year  three  thou- 
sand francs'  worth  of  rouge.  She  paid  her  hair-dresser  a  salary 
of  six  thousand  francs,  and  ordered  in  one  year  two  hundred 
white  muslin  dresses  costing  from  five  hundred  to  two  thousand 
francs  apiece,  five  hundred  and  fifty-eight  pairs  of  white  silk 
stockings,  five  hundred  and  twenty  pairs  of  dainty  shoes,  five 
hundred  lace-trimmed  chemises  at  three  hundred  francs  each, 
two  hundred  and  fifty-two  hats,  and,  after  shawls  came  into 
fashion,  no  less  than  sixty,  which  cost  from  eight  to  ten  thou- 
sand francs  apiece.  Strange  to  relate,  however,  her  wardrobe 
included  but  two  flannel  petticoats,  and  two  pairs  of  tights  for 
riding.    Warmth  was  supplied  by  cloth  or  velvet  gowns,  which, 


HISTORIC  DRESS  IN  AMERICA 


55 


as  they  were  low-necked  and  short-sleeved,  were  often  supple- 
mented by  redingotes  lined  with  fur  or  silk.  The  fit  of  gowns 
in  her  day  precluded  the  use  of  many  underclothes,  and,  aside 
from  a  chemise  and  corset,  Josephine  wore  nothing  but  a  slip, 
even  when  her  upper  garment  was  one  of  her  favourite  white 
muslins.  The  shoes  and  slippers  made  to  match  her  gowns, 
were  for  ornament  more  than  use,  for  it  is  said  that  when  she 
once  showed  her  shoemaker  some  footgear  which  revealed  holes 
after  one  day's  wear,  he  gravely  examined  them,  and  justified 
himself  by  exclaiming  :  '  Ah  !  I  see  what  it  is.  Madame,  you 
have  walked  in  them  ! '  Josephine  also  delighted  in  dainty 
wrappers,  nightgowns,  and  caps  and  her  husband  once  declared 
that  her  night  toilet  was  as  elegant  as  that  used  by  day,  and 
that  she  was  graceful  even  in  bed."* 

The  Empire  dress  was  a  great  favourite  in  Court  circles,  not 
only  in  France,  but  in  England,  where  Napoleon  was  more 
feared  than  loved.  Some  very  beautiful  specimens  of  this  style 
may  be  seen  in  the  South  Kensington  Museum  in  London,  and 
one  of  blue  satin  richly  embroidered  in  coloured  silks  and 
crape  is  on  view  in  Memorial  Hall,  Philadelphia,  which 
through  the  courtesy  of  Mrs.  Harrison  we  have  been  permitted 
to  reproduce  in  the  frontispiece  of  this  volume.  The  long 
heavy  trains  of  this  mode  were  usually  of  some  thick  material, 
velvet,  satin  or  brocade,  while  the  under-dress  was  of  filmy  em- 
broidered gauze,  India  muslin,  or  soft  finished  satin. 

The  hair  was  worn  in  short  ringlets  over  the  forehead  and 
generally  parted  in  the  middle  and  coiled  at  the  back.  Al- 
though it  did  not  require  a  great  deal  of  hair  for  this 
arrangement,  wigs  still  continued  in  favour,  to  the  evident 
displeasure  of  a  contributor  to  the  "  Evening  Fireside,"  edited 
in  1804. 

*  Empress  of  France,  by  H.  A.  Guerber. 


56 


HISTORIC  DRESS  IN  AMERICA 


"  On  Seeing  S.  L.  Dressed  in  a  Fashionable  Wig 

"  As  Nature  to  preserve  an  equipoise, 
Redundant  pow'r  of  principles  destroys, 
Blending  attractive  and  repulsive  might, 
And  mingling  shade  (to  save  our  eyes)  with  light, 
So  modish  dames  repeli  us  from  the  gaze, 
And  kindly  deaden  beauty's  ardent  blaze, 
When  o'er  their  charms,  contrived  in  pireous  gig, 
They  spread  that  monstrous  veil  y-clep'd  a  wig — 
Had  those  famed  Syrens  whose  allurments  bland 
Attracted  heroes  to  the  fatal  strand, 
Had  they  worn  wigs,  by  modern  artists  shap'd, 
Others  besides  Ulysses  had  escap'd   .    .  . 
Or  when  in  Eden  beauty  held  the  bait 
And  tempted  Adam  from  his  blissful  state, 
Had  round  Eve's  brows  a  shaggy  wig  been  curl'd, 
Her  charms  less  potent  had  not  lost  the  world." 

Mrs.  Smith,  formerly  Miss  Bayard  of  Philadelphia,  writing 
to  her  sister  Mrs.  Kirkpatrick,  has  given  us  graphic  pictures  of 
society  in  the  United  States.    In  January,  1804,  she  says  : 

"  Since  my  last  letters,  we  have  been  at  a  large  and  splendid 
ball  at  Mrs.  Robert  Smith's,  a  dancing  party  at  Mdm.  Pichon's, 
a  card  party  at  Mrs.  Galatin's,  at  Mr.  Beckley's  and  at  Mr.  Von 
Ness's,  and  at  the  City  Assembly.  Mrs.  R.  Smith's  was  by  far 
the  most  agreeable.  Mrs.  Merry  (wife  of  the  British  Minister) 
was  there  and  her  dress  attracted  great  attention  ;  it  was  bril- 
liant and  fantastic,  white  satin  with  a  long  train,  dark  blue 
crape  of  the  same  length  over  it,  and  white  crape  drapery  down 
to  her  knees  and  open  at  one  side,  so  thickly  covered  with 
silver  spangles  that  it  appeared  to  be  a  brilliant  silver  tissue ; 
a  breadth  of  blue  crape  about  four  yards  long  and  in  other 
words,  a  long  shawl,  put  over  her  head  instead  of  over  her 
shoulders  and  hanging  down  to  the  floor,  her  hair  bound  tight 
to  her  head  with  a  diamond  crescent  before  and  a  diamond 
comb  behind,  diamond  earrings  and  necklace  displayed  on  her 
bare  bosom. 


HISTORIC  DRESS  IN  AMERICA 


5T 


"  I  am  half  tempted  to  enter  into  details  of  our  city  affairs 
and  personages,  but  really  I  shall  have  to  be  so  scandalous  that 
I  am  afraid  of  amusing  you  at  such  a  risk.  But  certainly  there 
is  no  place  in  the  United  States  where  one  hears  and  sees  so 
many  strange  things,  or  where  so  many  odd  characters  are  to  be 

met  with.    But  of  Madam  I  think  it  is  no  harm  to 

speak  the,  truth.  She  has  made  a  great  noise  here  and  mobs  of 
boys  have  crowded  round  her  splendid  equipage  to  see  what  I 
hope  will  not  often  be  seen  in  this  country,  an  almost  naked 
woman.  An  elegant  and  select  party  was  given  to  her  by  Mrs. 
Robert  Smith ;  her  appearance  was  such  that  it  threw  all  the 
company  into  confusion,  and  no  one  dared  to  look  at  her  but  by 
stealth  ;  the  window  shutters  being  open  a  crowd  assembled 
round  the  windows  to  get  a  look  at  this  beautiful  little  creature, 
for  every  one  allows  that  she  is  extremely  beautiful.  Her  dress 
was  the  thinnest  sarsnet  and  white  crape  without  the  least  stiff- 
ening in  it,  made  without  a  single  plait  in  the  skirt,  the  width 
at  the  bottom  being  made  of  gores ;  there  was  scarcely  any 
waist  and  her  arms  were  uncovered  and  the  rest  of  her  form 
visible.  She  was  engaged  the  next  evening  at  Madam  P.'s. 
Mrs.  R.  Smith  and  several  other  ladies  sent  her  word  if  she 
wished  to  meet  them  there,  she  must  promise  to  have  more 
clothes  on.  I  was  highly  pleased  with  this  becoming  spirit  in 
our  ladies." 

We  suspect  that  the  heroine  of  this  scandal  was  Madame  Je- 
rome Bonaparte,  whose  scanty  draperies  are  mentioned  in  many 
contemporary  letters,  and  whose  wedding  costume  has  been 
already  described. 

From  a  letter  from  Paris  dated  1806  the  following  items  are 
gleaned  : 

"  Square  shawls  are  more  in  favour  than  long  ones.  Few 
feathers  or  flowers  are  to  be  seen ;  they  have  almost  entirely 


1800-1812 

Figure  34. — 1800 — Head-dress  of  India  muslin.    From  a  portrait  by  St. 
Meniin. 

Figure  35. — 1801 — Cap  of  muslin  and  ribbon.    From  a  portrait  by  St. 
Memin. 

Figure  36. — 1802 — Cap  of  an  elderly  lady.    From  a  portrait  by  St.  Memin. 
Figure  37. — 1803 — Cap  tied  under  the  chin.    From  a  portrait  by  St.  Memin. 
Figure  38. — 1805— Euffled  mob  cap.    From  a  portrait  by  St.  Meniiu. 
Figure  39. — 1808 — Cap  with  bands  of  ribbon.    From  a  portrait  by  St. 
Memin. 

Figure  40. — 1807 — Turban  of  soft  silk.    From  a  portrait  of  Mme.  Catalani. 
Figure  41. — 1812 — Fringed  turban.    From  a  portrait  of  Mrs.  Madison,  by 
Wood. 


HISTORIC  DRESS  IN  AMERICA 


61 


given  place  to  ribbands  of  various  descriptions.  Lavender  is  a 
new  colour  and  much  worn,  dove,  fawn,  pale-pink  and  blue  are 
the  colours  at  present  most  admired." 

The  last  mentioned,  blue,  appears  to  have  been  the  most 
favoured  colour  of  all  ages.  There  is  something  blue  in  every 
list  of  costumes,  calling  to  mind  the  popular  old  rhyme  : 

"  Green  is  forsaken 
And  yellow  forlorn 
But  blue  is  the  prettiest  colour  that's  worn." 

Thistleton  Dyer,  however,  tells  us  that  blue  is  considered 
unlucky  for  a  wedding  dress  in  some  parts  of  "England,  proving 
that  the  time-honoured  adage  that  no  bride  will  be  lucky  who 
does  not  wear 

"  Something  old  and  something  new, 
Something  borrowed  and  something  blue  " 

is  not  universal. 

In  the  spring  of  1806,  "  large  shawls  of  silk  or  mohair  were 
much  worn,  and  of  various  shapes  ;  some  in  the  form  of  a  long 
mantle,  with  a  hood  ;  others  a  la  Turque;  others  again  square. 
Loose  spencers  of  pale  blue  or  apple-blossom  sarsnet,  or  of 
cambric  muslin  were  popular.  Pelisses  were  made  of  plain 
nankin  and  were  very  appropriate  to  the  season.  The  most 
fashionable  hats  were  of  yellow  straw,  with  a  large  rim  d  la 
Pamela,  ornamented  with  very  broad  plain  ribbon,  or  a  flower  ;  a 
sort  of  bonnet  with  a  small  brim  of  straw,  and  the  crown  of 
white  silk,  was  worn  with  a  riding  habit.  A  lace  frill  was  worn 
with  this  costume,  round  the  neck,  or  a  coloured  hunting  neck- 
handkerchief."  The  picture  of  a  riding  costume  of  1806  is 
given  in  Figure  107.  It  is  intended  to  be  made  of  fine  broad- 
cloth, the  colour  a  dark  lavender  blossom  ;  it  has  a  high  rolled 
collar,  lapelled  front,  deep  cape  a  la  pelerine,  a  broad  belt  secured 


62 


HISTORIC  DRESS  IN  AMERICA 


in  front  with  a  double-clasp  of  steel,  and  a  high  run0  of  double- 
plaited  muslin  sloped  to  a  point  at  the  bosom.  Hat  of  amber 
coloured  velvet,  band  of  same  formed  in  leaves.  Hair  in 
close  curls.  Light  tan  gloves ;  half-shoes  of  lavender  blossom 
kid.  Certainly  a  very  dainty  creation  for  the  purpose.  Every- 
body rode  on  horseback  in  the  first  half  of  the  nineteenth  cen- 
tury, and  every  lady  had  a  riding  habit,  more  or  less  elaborate, 
as  the  illustrations  in  Figures  105-117  show.  They  are  all 
taken  from  contemporary  prints. 

Riding  hats  were  often  trimmed  with  fur,  and  in  a  fashion 
magazine  for  1806  we  read  :  "  The  latest  style  for  these  hats  is 
quite  novel ;  they  are  made  of  a  fawn-colour,  the  brims  are 
raised  on  each  side  to  the  height  of  the  shape,  and  are  cut  round 
to  resemble  a  fan." 

Pelisses  and  robes  of  velvet,  cloth  and  silk  were  still 
fashionable.  We  read  of  a  pelisse  "  of  dove-coloured  velvet, 
worn  loose  and  open  before,  embroidered  in  silk  of  the  same 
colour  down  the  front,  with  a  running  foliage  of  vine  or  olive 
leaves." 

Later  in  the  season  bonnets  and  hats  were  of  straw  of  differ- 
ent shapes,  gracefully  turned  up  in  front  and  lined  with  various 
coloured  velvets  and  ornamented  with  artificial  flowers. 

Fancy-coloured  silk,  nankin,  and  jean  shoes,  and  parasols  of 
white  cambric  were  very  generally  in  use. 

The  following  details  are  from  Paris  : 

"  Silk  hats  &  la  Turban  are  generally  covered  with  leno, 
or  fine  embroidered  muslin  ;  they  are  popular  and  have  a  neat 
unobtrusive  effect.  The  Gipsy  hat  and  cloak  is  a  most  dis- 
tinguished outdoor  covering,  but  suits  only  women  tall  in 
stature  and  graceful  in  carriage.  We  never  recollect  a  greater 
variety  of  fancy  cloaks  than  have  been  introduced  this  spring. 
The  Spanish  cloak  now  gives  place  to  the  Grecian  scarf,  which 


HISTORIC  DRESS  IN  AMERICA 


63 


is  exceedingly  elegant.  Lace  and  work  is  introduced  as  much 
as  ever  round  the  bottom,  on  the  sleeves  and  up  the  front  of 
dresses."  * 

In  an  English  magazine  of  1806,  a  new  hat  is  described  as  of 
"  fancy  straw  without  any  trimming,  turned  up  on  the  left  side 
immediately  over  the  edge,  the  rest  of  the  rim  slouched.  A 
plain  lace  veil  of  the  scarf  form  with  a  narrow  border  all  around 
is  fastened  on  the  top  of  the  crown  with  a  small  antique  stud, 
and  left  open  in  front."   A  picture  of  this  is  given  in  Figure  24. 

The  ruffs  which  came  into  vogue  at  this  time  are  carefully 
described  in  the  following  extract  from  a  letter  from  Paris  : 

"  Before  I  bid  you  good-night  I  will  endeavour  to  give  you  a 
practical  description  of  the  new  ruff,  now  almost  indispensable 
in  morning  and  outdoor  costume.  (And  I  beg  you  to  remem- 
ber, dear  Julia,  that  nothing  is  considered  so  vulgar  and  in- 
decorous as  to  exhibit  the  bosom,  throat  or  arms  with  the  above 
mentioned  habiliments.)  This  ruff  has  about  half  an  ell  of 
broad  lace,  fulled  into  a  band  of  narrow  raised  needlework,  a 
little  larger  than  the  size  of  the  throat.  A  band  of  muslin  is 
gathered  full  on  the  other  edge  of  the  work,  about  an  eighth  in 
depth,  and  finished  with  a  row  of  similar  needlework  at  the 
bottom.  The  lace,  which  sits  high  and  straight  round  the  chin, 
is  finely  crimped  ;  and  the  full  muslin,  confined  by  the  rows  of 
work,  sits  in  hollow  gathers  round  the  throat.  When  the  habit 
shirt  is  made  without  a  collar,  or  with  the  high  morning  dress, 
this  elegant  ruff  is  particularly  convenient  and  becoming."  (For 
illustrations  of  ruffs  see  Figures  7,  11,  29,  31,  41  and  54.) 

"  Veils  are  still  very  prevalent ;  as  head-dresses  they  are 
worn  either  at  the  back  of  the  head,  or  flowing  on  one  side, 
shading  the  shoulders  (Figure  28),  which  would  be  otherwise 
entirely  exposed.    The  gowns  are  made  high  in  the  bosom,  and 

*  La  Belle  Assembles. 


C.4 


HISTORIC  DRESS  IN  AMERICA 


low  in  the  back.  No  trains  are  to  be  seen  with  morning 
dresses.  The  bodice  of  coloured  sarsnet,  a  sort  of  spencer  with- 
out sleeves,  formed  like  the  plain  waist  of  a  gown,  with  plaited 
net  all  round,  has  a  very  pretty  effect." 

Among  the  variations  of  Fashion  described  in  1806  are  : 
"A  full-dress  lace  turban,  ornamented  with  gold-spangled  net, 
an  aigrette  in  front,  with  a  large  bow  of  muslin  confining  the 
whole,  and  a  row  of  gold,  intermixed  with  spangled  net,  hang- 
ing tastefully  on  one  side  of  the  forehead. 

"  The  Circassian  straw  hat,  which  has  some  resemblance  to  a 
Gipsy  hat,  but  has  a  fanciful  crown,  and  is  ornamented  with 
lilac,  salmon,  and  other  spring  coloured  ribbands.  A  half 
Gipsy  straw  hat,  tied  down  with  yellow  or  green  ribbands,  is 
fashionable.  A  straw  hat  for  mourning  wear  in  the  turban 
style,  embellished  in  front  with  primroses,  or  a  bunch  of  mi- 
gnonette and  yellow  roses,  and  a  loose  bow  of  white  rib- 
bands." 

A  simple  but  attractive  walking  dress  is  shown  in  Figure  14. 
It  consists  of  "  a  plain  muslin  frock,  walking  length,  the  front 
of  the  bodice  and  the  short  sleeves  made  rather  full,  the  -latter 
gathered  with  a  band  and  finished  with  a  bow  of  ribbon.  The 
bonnet  is  of  the  cottage  shape,  the  front  of  straw  or  chip  with  a 
round  crown  of  lavender-blossom  silk.  A  handkerchief  of  the 
same  silk  crosses  the  crown  and  is  tied  in  a  bow  under  the  chin. 
Under  the  bonnet  a  small  round  cap  with  a  frill  of  lace  is  seen. 
A  sash  to  match  the  bonnet  trimming  is  tied  in  the  back  under 
the  pelerine,  which  is  made  of  three  falls  of  finely  crimped  or 
plaited  muslin.  The  scarf  is  of  pale  green  with  a  narrow  varie- 
gated border.  The  long  gloves  and  the  half-shoes  are  of  buff 
kid."  With  this  costume,  which  is  taken  from  a  plate  in  "  La 
Belle  Assemblee  "  for  the  summer  of  1806,  we  read  that  amber 
earrings  were  worn.    Two  fashionable  straw  bonnets  in  the 


HISTORIC  DRESS  IN  AMERICA 


summer  of  1806  were  the  conversation  (Figure  27)  and  the  cot- 
tage (Figure  23)  bonnets. 

A  simple  evening  dress  is  described  in  an  English  paper  : 
"  A  French  jacket  of  coloured  erape,  ornamented  with  narrow 
lace,  also  a  trimming  of  lace  round  the  bottom  of  the  dress  ; 
long  sash  of  ribbon  tied  carelessly  on  one  side,  of  a  colour  cor- 
responding with  the  dress.  Front  made  plain  and  very  high 
over  the  bosom,  trimmed  round  with  plain  double  tulle.  No 
neckerchief  or  tucker  is  necessary  with  this  dress  ;  white  kid 
gloves  and  shoes."  Also  a  popular  walking  dress :  "  A  short 
round  frock  of  nankeen,  trimmed  round  the  bottom  with  sap- 
phire ribbon,  binding  of  the  same  round  the  bosom ;  narrow 
sash  of  the  same  ribbon  tied  on  one  side  ;  lace  chemissette  ;  nan- 
keen boots  or  shoes,  and  a  Gipsy  hat  of  silk." 

Another  letter  from  Paris  says  :  "  Ball  dresses,  dear  Julia, 
were  never  more  attractive  than  this  spring.  Frocks  of  French 
net  over  white  satin,  painted  in  natural  flowers.  Dresses  of 
white  Imperial  satin,  with  a  silver  brocade  ribband  at  the  bot- 
tom, and  French  aprons  of  net  or  lace,  bordered  all  round,  and 
ornamented  at  the  pocket-holes  with  Chinese  roses.  Round 
train-dresses  of  Moravian  muslin,  let  in  all  round  with  fine  foot- 
ing lace,  and  fastened  up  the  side  with  clasps  of  embossed  gold 
or  steel.  These  dresses,  amidst  many  others,  are  conspicuous  for 
their  taste  and  elegance.  I  no  longer  remark  the  long  sleeve  in 
full  dress,  except  on  women  who  have  passed  their  maturity. 
I  hope,  dear  Julia,  you  have  never  worn  the  backs  of  your 
dresses  immoderately  low;  a  correct  taste  must  ever  condemn  a 
fashion  so  disgusting.    I  am  happy  to  tell  you  that  at  the  last 

Opera,  and  at  the  Marchioness  of  D  's  Assembly,  the  most 

elegant  women  wore  the  backs  of  their  dresses  much  advanced, 
or  shaded  with  soft  folds  of  muslin  or  lace. 

" .    .    .    Mary's  French  coat  rivals  the  primrose  hue,  while 


66 


HISTORIC  DRESS  IN  AMERICA 


my  Curacoa  cloak  the  violet's  shade  assumes.  Our  Gipsy  hats, 
of  chip,  are  decked  with  wreaths  in  imitation  of  these  beauteous 
offspring  of  the  season.  We  have  also  hats  of  satin-straw,  for 
half-dress,  with  the  high  tiara  front  and  globe  crown,  the  most 
novel  and  elegant  article  of  the  kind  I  have  witnessed  for  man  y 
months." 

A  magazine  much  used  in  America  makes  the  announce- 
.  ment  for  1806  that  "  white  satin  dresses  will  continue  fashion- 
able the  whole  of  the  season ;  ball  dresses  worked  in  gold  and 
silver  lame,  or  crape  embossed  in  white  or  coloured  velvets. 
Silver  chambery  is  extremely  fashionable  and  elegant  both  for 
turbans  and  dresses.  The  most  fashionable  ornaments  are 
amethyst  tiaras  and  bandeaux  of  velvet.  Dove  brooches  are 
worn  in  the  front  of  dresses,  with  or  without  other  ornaments, 
and  are  much  admired.  Silks  of  every  colour,  spotted  with 
white,  are  prevalent ;  silk  hats  and  bonnets  to  correspond  are 
worn  with  them.  An  evening  dress  of  leno,  worked  in  the 
Etruscan  pattern,  is  much  approved  of ;  the  back  of  this  dress 
is  low,  drawn  full,  and  is  finished  with  a  loose  bow  of  narrow 
ribband,  high  in  front,  and  is  ornamented  with  footing  lace. 
Head-dress  of  white  satin,  ornamented  with  flowers.  Lace  caps 
are  now  more  universally  worn  than  ever  by  our  most  fash- 
ionable females ;  the  mob  (Figures  35  and  39)  has  not  entirely 
disappeared,  but  the  small  round  cap  seems  to  be  more  ad- 
mired "  (Figure  38). 

An  English  walking  costume  of  1807  is  thus  described  :  "  A 
Polish  robe  of  purple  velvet,  open  in  front,  rounded  gradually 
from  the  bottom  towards  the  lappels,  which  are  continued 
across  the  shoulder,  and  finished  in  regular  points  on  the 
back.  A  yoke  of  the  same,  with  high  fur  collar  ;  the  whole 
trimmed  all  around  with  red  fox,  mole,  leopard-spot  or  grey 
squirrel.    A  rich  cord  and  tassel  is  attached  to  the  centre  of  the 


HISTORIC  DRESS  IN  AMERICA 


67 


back,  and  fastened  at  the  waist  in  front.  The  bodice  and  skirt 
cut  in  one  and  the  sleeve  fitting  close  to  the  arm.  Polish  cap 
of  the  same  material,  trimmed  round  the  edge  and  across  the 
crown  with  fur,  a  cord  and  tassels  hanging  from  the  right  side 
of  the  crown.    York  tan  gloves  and  primrose  shoes." 

A  trimming  of  spangled  velvet  is  mentioned  in  the  same 
magazine.  "  A  ball  dress  of  plain  crape,  over  a  white  satin 
slip,  made  dancing  length ;  plain  back  and  sleeves,  with 
quartered  front,  trimmed  round  the  bottom,  on  the  waist  and 
on  the  sleeves  with  a  white  velvet  ribband  thickly  spangled 
with  gold  or  lace."  In  the  words  of  a  contemporary  author- 
ity, "  the  chemissette,  so  long  and  so  justly  esteemed  for  its 
delicacy  and  utility,  is  now  worn  with  a  double  plaiting  of 
Vandyked  muslin,  forming  a  very  high  and  stiff  frill,  which  sits 
close  round  the  throat,  and  is  sloped  to  a  point  at  the  chin  ;  " 
and  the  winged  ruff  is  described  as  "a  dignified  and  fashionable 
appendage  to  the  evening  dress."  For  short  sleeves  we  learn 
a  Vandyke  trimming  was  preferred,  but  the  crescent  sleeve  and 
the  full  puffed  sleeve,  formed  in  three  divisions,  with  bands 
of  lace,  needlework,  silver,  or  gold,  were  alike  fashionable. 

"  The  fronts  of  dresses  are  generally  cut  to  fit  the  form," 
Mrs.  Bell,  the  famous  English  authority,  remarks,  "  and  where 
the  bust  is  finely  turned,  we  know  not  of  any  fashion  that  can 
be  more  advantageous  ;  but  to  a  spare  figure  we  recommend  a 
little  more  embellishment."  Specimens  of  this  style  are  given 
in  Figures  13,  21,  53,  and  54.  Round  gowns  were  in  1807  ar- 
ranged with  French  gores,  so  as  to  have  no  gathers  at  the  bot- 
tom of  the  waist  in  front. 

Veils,  both  as  head-dresses  and  on  bonnets,  were  much  worn  ; 
a  figure  of  one  worn  with  full  evening  dress  is  given  in  Figure 
28.  The  popularity  of  the  veil  is  proclaimed  in  the  following 
sonnet  : 


1810-1818 

Figure  42. — 1818 — Mourning  street  dress,  showing  a  cloak  fashionable  for 

the  first  quarter  of  the  century. 
Figure  43. — 1814 — Oldenburg  bonnet.    From  a  portrait. 
Figure  44. — 1813 — Regency  costume,  trimmed  with  fur. 
Figure  45. — 1813 — Regency  cap  of  white  satin. 

Figure  46. — 1815 — Costume  of  Mme.  Lavalette,  in  which  her  husband 

made  his  escape  from  prison. 
Figure  47. — 1811 — Spauish  hat  and  ermiue  cape. 
Figure  48. — 1810 — Walking  dress  with  straw  hat. 
Figure  49. — 1814 — Huntley  scarf  and  cap. 

Figure  50. — 1812 — Walking  dress  with  a  cottage  bonnet.    Eoman  sandal. 


HISTORIC  DRESS  IN  AMERICA 


71 


"  The  Veil* 

"Though  to  hide  a  sweet  face, 

With  a  curtain  of  lace, 
Makes  oglers  of  fashion  to  rail  ; 

Though  our  Fair  would  shine  bright 

Midst  a  full  blaze  of  light, 
My  lines  I'll  devote  to  the  veil. 

"  Master  Cupid  we  know, 

When  he  aims  a  sure  blow, 
With  enchantment  of  face  will  assail ; 

Yet  his  Godship  knows  too, 

How  intense  men  pursue, 
Ev'ry  Venus  that's  deck'd  with  a  veil. 

"  For  the  peace  of  mankind, 

It  is  both  right  and  kind, 
Some  fair  ones  their  charms  shou'd  conceal  ; 

Since  a  pair  of  bright  eyes, 

Will,  in  spite  of  disguise, 
Inflict  a  deep  wound  through  a  veil. 

"Now  if  one  roguish  beam, 

From  an  eye  can  inflame, 
And  to  do  executiou  not  fail  ; 

What  destruction  of  hearts, 

Wou'd  be  fouud  in  all  parts, 
Did  Beauty  relinquish  her  veil !  " 

Pelisses,  usually  of  cambric  and  opening  down  the  front, 
were  called  "  fugitive  coats,"  a  revival  of  the  flying  Josies  pop- 
ular for  morning  wear  at  the  close  of  the  eighteenth  century. 
A  sketch  of  one  of  these  graceful  garments  is  given  in  Figure 
13,  trimmed  with  Vandyke  edging  and  embroidery,  and  worn 
with  a  Lavinia  hat.  The  Lavinia  hat  is  a  variation  of  the 
Gipsy  hat,  which  had  been  in  favour  for  several  years  ;  and  was 
probably  named  for  the  rustic  heroine  in  Thomson's  "  Seasons," 
of  whom  the  poet  says  : 

*Ln  Belle  Assemblee,  1807. 


72 


HISTORIC  DRESS  IN  AMERICA 


"  He  saw  her  charming,  but  he  saw  not  half 
The  charms  her  downcast  modesty  concealed." 

The  dress  in  the  illustration  is  of  Jaconet  muslin  made  with  a 
gored  bodice  finished  with  a  tucker  of  fine  embroidery.  The 
cambric  pelisse  is  made  with  long  sleeves  which  fall  over  the 
hand  ;  the  parasol  is  of  silk  to  correspond  with  the  hat  trim- 
mings and  breast  knot. 

The  following  verses  show  that  the  use  of  rouge  was  neither 
universal  nor  unusual  in  1807  : 

The  Faie  Equivoque 
"  As  blooming  Harriet  moved  along, 
The  fairest  of  the  beauteous  throng  ; 
We  beaux  gaz'd  on  with  admiration 
Avow'd  by  many  an  exclamation. 
What  form  !  what  naivete  !  what  grace  ! 
What  roses  decked  that  Grecian  face  ! 
'Nay,'  Dashwood  cries,  '  that  bloom's  not  Harriet's  ; 
'Twas  bought  at  Beynold's,  Moore's,  or  Mariot's, 
And  though  you  vow  her  face  untainted, 
I  swear  by  Heaven,  your  beauty's  painted.' 

"  A  wager  instantly  was  laid, 
And  Eauger  sought  the  lovely  maid, 
The  pending  bet  he  soon  reveal'd 
Nor  e'en  the  impious  oath  couceal'd. 
Confused,  her  cheek  bore  witness  true, 
By  turns  the  roses  came  and  flew. 
'  Your  bet,'  she  said,  '  you'll  win  I  ween, 
For  I  am  painted,  Sir — by  Heaven.''  " 

Although  there  were  not  any  marked  changes  in  the  fash- 
ions of  1808,  variations  in  trimmings  were  innumerable.  Im- 
ported India  muslins  embroidered  with  silver  and  gold,  and 
sometimes  in  small  sprigs  and  figures,  finished  with  a  deep 
border  of  a  very  rich  pattern,  were  in  great  favour  for  ball 
gowns.    The  dress  in  Figure  28  is  a  very  beautiful  specimen  of 


HISTORIC  DRESS  IN  AMERICA 


73 


silver  embroidery  on  the  sheerest  mull  and  was  worn  over  a 
slip  of  white  satin.  It  belonged  to  Miss  Lydia  Learning,  whose 
wedding  dress  is  given  in  Figure  56.  The  veil  in  our  illustra- 
tion is  of  thread-lace  arranged  after  a  contemporary  print.  The 
hair  is  parted  on  the  left  side  and  curls  hang  down  over  the  left 
cheek.    Drop  earrings  of  Roman  pearls  finish  this  costume. 

Another  evening  gown  made  for  the  same  trousseau  is 
pictured  in  Figure  26.  The  material  is  also  India  muslin, 
but  in  this  costume  the  embroidery  is  of  Smyrna  work  done 
with  a  fine  chenille  thread  in  green  and  red.  A  turban 
trimmed  to  correspond  represents  the  popular  head-dress  as 
worn  in  1808. 

Much  prettier,  however,  is  the  gown  in  Figure  23  em- 
broidered by  Miss  Learning  herself.  The  material  is  also 
India  muslin,  probably  imported,  and  the  gloves  which  are 
hand-made  of  white  linen  must  have  been  a  comfortable  fashion 
for  a  hot  summer  outing.  The  bonnet  is  copied  from  a  print  of 
1808.  It  is  of  straw  with  a  soft  crown  of  white  silk  and  is 
trimmed  with  satin  ribbon. 

The  dainty  gown  in  Figure  33  belonged  to  the  same  outfit  of 
1808.  The  trimming  consists  of  stripes  of  drawn-work  resem- 
bling innumerable  rows  of  hemstitching  with  embroidered  edges. 
The  head  is  copied  from  a  contemporary  portrait,  the  loose,  soft 
curls  confined  by  a  half-turban  of  thin  muslin,  the  ends  of 
which  are  trimmed  with  lace,  and  tied  in  a  becoming  knot. 
This  was  a  favourite  head-dress  from  1800  to  1810  and  may  be 
noticed  in  many  of  the  portraits  by  Russell  and  Sully  (Figure 
17).  In  Figure  30  the  back  view  of  Figure  56  is  given.  The 
head-dress  is  of  blue  velvet  embroidered  with  seed  pearls,  and 
is  taken  from  a  print  of  1808. 

Little  French  caps  were  worn  with  morning  dress  (Figures 
18,  19  and  20),  shading  the  ears  and  covering  the  hair  at 


74  HISTORIC  DRESS  IN"  AMERICA 

the  back.  Bonnets  followed  the  same  lines  and  were  trimmed 
with  puffings  of  either  lace  or  ribbon.  (See  Figures  23  and  32.) 
Long  sleeves  set  in  at  the  shoulder  were  first  worn  in  1808  ;  also 
ruffs  of  scalloped  lace  with  gowns  cut  high  in  the  back.  (See 
Figure  17.) 

"  La  Belle  Assemblee  "  for  November,  1808,  gives  the  follow- 
ing fashions  : 

"  Walking  Dress.  A  round  cambric  gown,  with  high  fan 
ruff ;  a  Polish  coat  with  Carmelite  mantle,  of  bright  grass-green, 
or  royal  purple  velvet,  trimmed  entirely  round  with  ermine, 
and  clasped  up  the  side  of  the  figure  with  steel  or  silver.  A 
Shepherdess  hat  of  green  velvet,  or  moss  straw,  with  variegated 
green  feather,  and  a  Chinese  tassel.  Shoes  of  black  Spanish 
silk,  or  pale  amber  velvet,  and  gloves  of  York  tan." 

"  Walking  Dress.  A  round  robe  of  muslin  in  white  or 
colours.  A  plain  French  coat  (Figure  59)  of  merino  cloth,  or 
shot  sarsnet,  the  colour  bright  morone,  or  crimson,  trimmed  all 
round  with  chenille  or  fur.  A  three-quartered  Opera  tippet  of 
the  same.  A  Village  bonnet  (Figure  59)  of  sarsnet  or  satin, 
formed  in  French  flutings  in  front,  ornamented  with  a  full  bow 
of  appropriate  ribband  in  the  centre  and  tied  under  the  chin 
with  the  same.  Shoes  of  grass-green,  or  morone  velvet ;  and 
gloves  of  grey  Limerick." 

"  The  cardinal,  or  rustic  mantle,  recommends  itself  also  from 
its  convenience  and  warmth,  and  from  the  graceful  negligence 
of  its  folds,  when  wrapt  round  the  figure." 

A  riding  habit  for  1808  is  described  as  follows  in  the  same 
periodical  :  * 

"  A  Spanish  Habit  or  Polish  Riding  Dress,  with  the 
Patriotic  helmet;  formed  of  superfine  Georgian  cloth,  or  thin 
kerseymere.  Gold  buttons  and  trimmings  to  correspond. 
Small  French  watch,  worn  on  the  outside.    Plain  high  cravat 


HISTORIC  DRESS  IN  AMERICA 


75 


of  French  cambric  ;  collar  of  the  habit  sitting  close  round  the 
throat.  Hair  in  irregular  ringlets.  Gloves  and  shoes  of  lemon- 
coloured  kid."    (See  Figure  108.) 

Miss  Austen,  writing  to  her  sister  in  1808  on  the  subject  of 
the  mourning  considered  appropriate  on  the  death  of  a  sister-in- 
law,  says  :  "  .  .  .  I  am  to  be  in  bombazeen  and  crape,  ac- 
cording to  what  we  were  told  is  universal  here,  and  which  agrees 
with  Martha's  previous  observation.  My  mourning,  however, 
will  not  impoverish  me,  for  by  having  my  velvet  pelisse  fresh 
lined  and  made  up,  I  am  sure  I  shall  have  no  occasion  this 
winter  for  anything  new  of  that  sort.  I  take  my  cloak  for  the 
lining,  and  shall  send  yours  on  the  chance  of  its  doing  some- 
thing of  the  same  for  you,  though  I  believe  your  pelisse  is  in 
better  repair  than  mine.  One  Miss  Baker  makes  my  gown  and 
the  other  my  bonnet,  which  is  to  be  silk  covered  with  crape."  * 

Mourning  dress  at  this  time  was  very  elaborate  and  certain 
rules  of  etiquette  were  observed  strictly,  with  subtle  distinctions 
between  half  and  full  mourning  as  well  as  between  full  and 
demi-toilette  (see  Figures  79  and  80),  which  must  have  been  an 
occupation  more  or  less  diverting,  and,  where  the  grief  was  not 
of  the  heart,  probably  worked  its  own  cure.  Richter's  adage, 
"  the  only  medicine  which  does  women  more  good  than  harm  is 
dress,"  seems  especially  applicable  to  the  intricacies  of  the 
fashionable  mourning  in  the  first  half  of  the  nineteenth  century. 
Solace  might  also  have  been  found  in  the  general  becomingness 
of  sombre  tints.    Johnson  described  Stella's  beauty  : 

"  But  brightened  by  the  sable  dress 
As  virtue  rises  iu  distress." 

Bombazine  is  generally  associated  with  crape  and  very  deep 
mourning,  but  it  appears  to  have  been  popular  in  colours  at  this 

*  Letters  of  Jaue  Austen. 


76 


HISTORIC  DRESS  IN  AMERICA 


time,  as  we  often  find  mention  of  dresses  of  white,  blue  and  red 
bombazine.  According  to  Pope  :  "  A  saint  in  crape  is  twice  a 
saint  in  lawn."  It  must  have  required  considerable  self-restraint 
to  be  a  saint  in  bombazine  of  any  colour,  so  irritating  to  the 
touch  is  the  surface  of  that  old-fashioned  material.  Gossamer 
satin  sounds  much  more  soothing  and  possibly  was  worn  by 
Serena  when  she  inspired  the  following  verse : 

"  Serena.,  in  a  Mourning  Dress 
"  So  have  I  seen  behind  some  sable  cloud 
(Its  skirts  just  tinted  with  a  silver  hue) 
The  queen  of  planets  veiled  in  lovely  gloom, 
Such  gloom  as  o'er  the  saddening  landscape  sheds 
The  soft  and  soothiug  spirit  of  the  sigh, 
Such  as  the  poet  courts  when  fancy's  pow'r 
Wakes  the  loved  shade  of  some  departed  hour, 
Breathes  in  regret's  dull  ear  a  soothing  strain, 
And  almost  bids  past  joy  be  joy  again." 

Although  convention  required  that  only  certain  materials 
should  be  worn  in  mourning,  it  was  not  customary  for  mourners 
to  seclude  themselves,  or  refrain  from  social  gayeties,  for  in  all 
the  fashion  books  of  the  first  half  of  the  nineteenth  century, 
plates  and  descriptions  of  full  dress  as  well  as  demi-dress,  both 
in  deep  mourning  and  light  mourning,  are  given.  From  a  let- 
ter published  in  an  English  periodical  of  1808,  we  quote  the 
following  elaborate  description  : 

"  Amidst  the  brilliant  throng  assembled  this  evening,  I  was 
much  struck  with  the  beauty  and  singular  appearance  of  two 
young  women  dressed  in  slight  mourning ;  and  who  I  after- 
wards found  to  be  the  two  Misses  J  s,  who  were  the  reign- 
ing belles  at  Cheltenham  and  Worthing  during  the  season. 
Their  attire  this  evening  consisted  of  a  round  train  dress  of 
black  gossamer  satin,  rising  to  the  edge  of  the  throat,  where  it 
finished  in  a  kind  of  neck-band  of  three  rows  of  fine  pearls.  A 


HISTORIC  DRESS  IN  AMERICA 


77 


fine  silver  filagree  net  extended  over  the  bust  in  front,  some- 
what like  the  bibs  worn  by  the  ancients  and  it  was  terminated 
at  the  bottom  of  the  waist  with  an  elastic  band,  and  large  acorn 
tassels  of  silver.  To  these  dresses  were  attached  the  long  bishop 
sleeves  like  those  already  described  as  chosen  by  Mary,  except 
that  these  were  of  plain  French  lawn,  clearer  than  any  I  have 
ever  before  seen,  and  plaited  with  the  utmost  delicacy.  On 
their  heads  they  wore  turbans  of  grey  chambery,  thickly  frosted 
with  silver ;  these  were  fancifully  disposed,  yet  much  in  the 
Indian  style.  But  the  most  attractive  part  of  this  interesting 
costume  was  a  Jerusalem  rosary,  formed  of  the  beads  called 
Virgin's  tears." 

The  following  advertisement  appeared  in  1808  : 

"  Invisible  Dresses. — Drawers,  Petticoats  and  Waistcoats 
made  of  real  Spanish  Lamb's  Wool. 

"  Mrs.  Morris,  late  Mrs.  Robert  Shaw,  informs  Ladies  she 
has  now  ready  for  their  inspection  an  entire  fresh  and  extensive 
Assortment  of  her  patent  elastic  Spanish  Lamb's  Wool  Petti- 
coats, Drawers  and  Waistcoats,  all  in  one,  and  separate.  Articles 
much  approved  of  for  their  pleasant  elasticity,  warmth  and  deli- 
cate colour,  will  add  less  to  size  than  a  cambric  muslin,  and 
warranted  never  to  shrink  in  the  wash.  Children's  of  every 
size,  and  made  to  pattern,  at  the  Original  Hosiery,  Glove  and 
Welch  Flannel  Warehouses,  No.  400  Oxford  Street." 

Reading  this  advertisement  now,  a  hundred  years  after  it 
appeared,  we  find  a  possible  explanation  of  the  most  perplexing 
problem  of  the  history  of  dress.  The  lamb's  wool  underwear, 
like  the  union  suits  so  universally  worn  in  our  day,  were  in- 
vented for  warmth,  and  yet  were  so  close-fitting  in  shape  that 
they  did  not  interfere  with  the  slim  effect  of  the  scanty  gowns 
of  sheer  muslin  and  transparent  gauze  or  silk  tissue  then  in 
vogue. 


1800-1808 

Figure  51. — 1800 — A  wedding  gown  of  sheer  India  muslin  embroidered 
with  silver  thread  in  diagonal  stripes.  It  is  very  scanty,  barely  two 
yards  in  width  and  very  high  in  the  waist.  This  dainty  little  dress 
Avas  worn  by  a  bride  of  sixteen,  Miss  Charlotte  J.  Buinsey,  of  Cecil 
County,  Maryland,  who  married  Dr.  John  Bullus  of  the  United  States 
Navy,  in  1800.  The  head  in  our  picture  is  copied  from  a  contemporary 
miniature. 

Figure  52. — 1803 — Dress  suit.     From  a  contemporary  plate. 

Figuke  53. — 1801 — An  afternoon  dress  of  Jaconet  muslin.  The  long  sleeves 
are  finished  with  a  puff  at  the  top  drawn  up  by  a  narrow  tape  in  a 
casing.  The  narrow  skirt  is  trimmed  with  many  rows  of  corded  tucks 
and  hemmed  in  scallops.  This  very  attractive  gown  was  worn  in 
Philadelphia  about  1801,  but  the  fashion  prevailed  for  some  years. 
The  head  is  taken  from  a  miniature  of  the  day. 

Figure  51. — 1805 — A  gown  of  sage-green  China  crepe  worn  in  Philadelphia 
about  1805.  It  is  brocaded  in  stripes  and  has  a  wide  border  of  the  same 
design  on  the  hem,  above  which  is  a  group  of  fine  tucks.  The  head 
and  hat  are  taken  from  a  print  of  the  same  year. 

Figure  55. — 1806 — Man  in  walking  dress  of  1806.  Top-coat  of  green  cloth, 
showing  striped  waistcoat,  ruffled  shirt,  folded  stock  and  high  collar. 
A  beaver  hat  with  rolling  brim,  gloves  of  tan  kid  and  high  boots  of 
soft  leather  complete  the  costume,  which  is  copied  from  a  contemporary 
plate. 

Figure  56. — 1808 — Taken  from  an  original  wedding  costume  of  white  satin 
worn  in  Philadelphia  in  1808.  The  only  trimming  is  a  row  of  lacing  up 
the  front  of  the  bodice,  but  the  dress  fastens  under  the  right  arm.  The 
reticule  is  of  spangled  gauze.  The  arrangement  of  the  hair  is  copied 
from  a  miniature,  being  braided  and  carried  in  two  bandeaux  across 
the  head.  A  photograph  of  the  veil  is  given  in  Figure  223,  showing 
the  beauty  of  the  lace.  The  bride  was  Miss  Lydia  Learning,  who  mar- 
ried Mr.  James  Smith  of  Philadelphia. 

Figure  57. — 1808 — Dress  suit  of  a  gentleman  of  the  period.  The  blue  cloth 
coat  is  cut  very  high  at  the  back.  The  high  rolling  collar  of  the  same 
cloth  allows  a  fine  cambric  stock  and  ruffled  shirt-front  to  show  above 
a  white  satin  waistcoat.  The  short  trousers  are  of  buff  kerseymere, 
fastened  at  one  side  of  the  knee  with  small  bows  of  the  same.  The 
stockings  are  of  white  silk.  The  low  slippers  are  of  black  leather. 
The  hat  has  a  rather  wide  brim  and  the  gloves  are  of  yellow  kid.  This 
costume  is  taken  from  a  portrait  by  Sully. 

Figure  58. — 1808 — A  gown  of  yellow  gauze  with  a  raised  spot  of  velvet 
which  was  part  of  the  outfit  of  Miss  Lydia  Learning.  The  lace  scarf,  a 
photograph  of  which  is  given  in  Figure  224,  belonged  to  the  same  lady. 
The  head  is  copied  from  a  portrait  of  1808. 

Figure  59. — 1805 — Back  view  of  a  pelisse  worn  in  Philadelphia  about  1805. 
It  is  of  green  China  silk  and  lined  with  pink  cambric.  The  beehive 
or  cottage  bonnet  is  copied  from  a  plate  of  that  year,  but  was  a  popular 
fashion  from  1800  to  1812. 


1806-55  1807-SG  1807-57  1807-S8  1G06-S9 


HISTORIC  DRESS  IN  AMERICA 


81 


We  do  not  read,  however,  of  any  similar  invention  to  protect 
the  feet,  which  it  was  still  the  fashion  to  dress  in  very  thin- 
soled  slippers  even  for  the  street.  As  the  season  advanced,  the 
ingenious  Mrs.  Robert  Shaw  offered  another  novelty  for  the  re- 
quirements of  spring,  union  suits  much  like  those  in  the  adver- 
tisements of  to-day  : 

"  Invisible  India  Cotton  Petticoats,  Drawers,  Waistcoats  and 
Dresses  all  in  one. 

"  Mrs.  Robert  Shaw  respectfully  informs  those  Ladies  she 
had  the  honour  to  serve  for  several  years,  and  Ladies  in  gen- 
eral, that  she  has  manufactured  for  the  Spring  a  fresh  and  ex- 
tensive assortment  of  the  above  articles  of  real  India  Cotton  ; 
which  articles  Ladies  will  find  well  worthy  their  notice  ;  being 
of  a  soft,  thin,  delicate  and  elastic  texture,  will  add  less  to  size 
than  a  cambric  muslin,  and  warranted  never  to  shrink  the  least 
in  the  wash.  Children's  of  every  size  and  made  to  pattern,  at 
her  Hosiery,  Glove  and  Flannel  Warehouse,  No.  400  Oxford 
Street." 

A  quaint  ball  dress  is  given  in  a  Philadelphia  magazine  for 
1808  :  "  A  round  robe  of  India  muslin,  worn  over  a  white  sars- 
net  slip ;  tamboured  in  a  small  stripe  either  in  white  or  colours. 
The  dress  formed  on  the  most  simple  construction,  plain  back 
and  wrap  front,  sitting  close  to  the  figure  ;  a  plain  frock  sleeve 
edged  with  the  antique  scollop  ;  a  short  train,  finished  round 
the  bottom  in  a  similar  style.  Hair  brought  tight  from  the 
roots  behind,  and  twisted  in  a  cable  knot  on  one  side,  the  ends 
formed  in  falling  ringlets  on  the  other ;  with  full  irregular 
curls.  A  full  red  and  white  rose,  or  ranunculus  placed  on  the 
crown  of  the  head  towards  one  side.  Emerald  necklace  linked 
with  dead  gold.  Earrings  and  bracelets  to  correspond.  French 
kid  gloves  above  the  elbow.    Pea-green  slippers  of  fancy  kid." 

We  read  in  the  same  periodical  that  "no  lady  of  fashion 


82 


HISTORIC  DRESS  IN"  AMERICA 


now  appears  in  public  without  a  ridicule — which  contains  her 
handkerchief,  fan,  card-money  and  essence-bottle.  They  are  at 
this  season  usually  made  of  rich  figured  sarsnet,  plain  satin  or 
silver  tissue,  with  strings  and  tassels,  their  colours  appropriate  to 
the  robes  with  which  they  are  worn."     (See  Figures  48  and  56.) 

"  La  Belle  Assemblee  "  for  August,  1808,  describes  the  fol- 
lowing costumes:  "A  round  robe  of  white  or  jonquille  muslin 
made  a  walking  length,  with  spencer  waist,  and  deep  falling 
lappels,  trimmed  with  lace  and  edged  at  the  wrist  to  correspond. 
A  bonnet  of  celestial  blue  crape,  with  jockey  or  antique  front, 
edged  and  ornamented  with  the  shell  or  honey-comb  trimming, 
formed  of  the  same  material.  Gloves  and  shoes  of  pale  blue  or 
lemon-coloured  kid.  Necklace  and  bracelets  of  the  composi- 
tion pebble,  and  earrings  of  silver  filagree  of  the  hoop  form. 
Hair  in  full  irregular  curls.  Quilted  parasol  of  shaded  silk, 
lined  with  white  satin." 

"  A  round  dress  of  pea-green  or  lilac  muslin,  over  a  white 
cambric  slip  ;  a  short  cottage  sleeve,  plain  back  and  handker- 
chief front,  fastened  in  a  small  tufted  bow  and  ends  at  the  centre 
of  the  bosom.  Provincial  bonnet  of  fine  split  straw,  or  moss 
straw,  with  band  and  full  bow  of  folded  sarsnet  the  colour  of  the 
dress,  terminating  in  a  pendant  end  on  the  left  side,  and 
finished  with  a  corresponding  tassel.  A  Sardinian  mantle,  of 
French  net,  muslin,  or  spotted  leno,  the  corners  terminating  in  a 
full  knot.  A  double  high  frill  around  the  throat,  edged  with 
scolloped  lace,  tied  in  front  with  a  ribband." 

The  following  concoctions  for  the  complexion  are  taken  from 
a  periodical  of  1808  : 

"  Saccharine  Alum. — Boil  white  of  eggs  and  alum  in  rose- 
water  ;  make  into  a  paste  and  mould  into  the  form  of  small 
sugar  loaves.  The  ladies  use  this  paste  to  give  greater  firmness 
to  the  skin." 


HISTORIC  DRESS  IN  AMERICA 


83 


"  Eau  de  Veau. — Take  a  calf's  foot  and  boil  it  in  four  quarts 
of  river  water  till  it  is  reduced  to  half  the  quantity.  Add  half 
a  pound  of  rice,  and  boil  it  with  crumbs  of  white  bread,  steeped 
in  milk,  a  pound  of  fresh  butter  and  the  whites  of  five  fresh 
eggs,  with  their  shells  and  membranes.  Mix  with  them  a  small 
quantity  of  camphor  and  alum  and  distil  the  whole.  This  cos- 
metic is  one  that  may  be  strongly  recommended." 

So  accustomed  are  we  to  the  advertisements  of  Pear's  soap 
in  all  the  magazines  of  our  day  that  it  is  indeed  surprising 
to  read  it  in  a  periodical  of  a  hundred  years  ago.  It  was 
introduced  as  a  novelty,  and  made  its  first  appearance  in  print, 
in  October,  1808.    We  quote  from  "  La  Belle  Assemblee  "  : 

"  Pear's  Celebrated  Soap.  The  Proprietor  of  this  ex- 
cellent composition  is  proud  to  offer  it  to  the  notice  of  the 
Nobility,  Gentry  and  the  Public  at  large.  The  virtues  of  this 
Soap  are  almost  too  many  to  enumerate;  while  it  possesses  the 
cleansing  and  purifying  properties  of  other  Soap,  it  is  free  from 
those  noxious  ingredients  which  are  so  prejudicial ;  on  the 
contrary,  while  it  cleanses  the  skin,  it  adds  a  delicacy  and 
beauty  indescribable  to  the  face  and  hands.  The  Ladies  will 
find  it  a  most  agreeable  appendage  to  the  Toilette,  and  in  using 
they  will  be  convinced  that  it  will  render  the  arms  inimitably 
white,  equal,  if  not  superior,  to  the  most  celebrated  cosmetic. 
One  trial  is  sufficient  to  evince  its  agreeable  and  salutory  effects. 
Sold  in  Pots  at  3  s." 

In  1809  women  began  to  wear  their  bodices  longer.  Miss 
Austen  in  a  letter  of  that  year  says  :  "  .  .  .  I  can  easily 
suppose  that  your  six  weeks  here  will  be  fully  occupied,  were  it 
only  in  lengthening  the  waists  of  your  gowns."   (See  Figure  30.) 

The  editor  of  an  old  fashion  magazine,  referring  to  the  red 
cloaks  or  Cardinals  which  came  into  vogue  before  the  American 
Revolution  and  were  popular  in  the  early  years  of  the  nine- 


84 


HISTORIC  DRESS  IX  AMERICA 


teenth  century,  remarks  :  "  Red  cloaks  are  at  length  com- 
pletely abandoned,  and  we  congratulate  our  lovely  readers  on 
their  emancipation  from  the  most  despotic  dress  that  ever  was 
introduced  by  the  whimsical  and  arbitrary  goddess  of  fashion. 
The  writer  of  this  article  predicted,  on  their  first  appearance, 
that  a  colour  so  disadvantageous  to  beauty  could  never  become 
prevalent." 

Jn  the  styles  of  hats  and  bonnets  for  1809  there  were  a  few 
changes.  Among  them  we  read  in  "  La  Belle  Assemblee  "  of 
"  the  Spanish  hat  in  split  straw,  with  the  long  white  drooping 
ostrich  feather,"  and  of  "  the  Flushing  hat;  it  is  of  the  Gipsy 
form,  in  white  chip,  with  a  double  or  second  crown  supplying 
the  place  of  a  cap.  This  is  at  once  novel,  elegant,  and 
convenient ;  it  is  usually  worn  with  a  wreath  of  puffed  ribbands 
or  wild  flowers.  The  Cottage  bonnet  is  still  seen,  made  of 
satin,  with  the  crown  a  little  raised  and  called  by  some 
ingenious  milliners  the  Parisian  bonnet.  Caps  with  veils, 
ornamented  with  artificial  flowers,  are  in  great  favour  in  morn- 
ing and  evening  dress,  varying,  however,  slightly  in  their  form 
and  texture.  Our  most  matronly  belles  seem  indeed  (and  we 
think  very  judiciously)  to  reject  the  straw  bonnet  altogether. 
Lace  and  finely  embroidered  muslin  with  an  intermixture  of 
satin  are  unrivalled  in  the  construction  of  caps,  which  continue 
still  to  be  made  close  to  the  head,  raised  rather  more  behind 
than  before." 

Among  the  novelties  introduced  in  1809  was  the  Hungarian 
wrap.  A  contemporary  description  reads:  "  This  graceful  gar- 
ment is  usually  made  of  velvet,  or  brocaded  sarsnet,  generally 
wadded  and  lined  throughout  with  a  corresponding  silk  ;  it  has 
large  loose  sleeves  ;  it  hangs  loose  from  the  back  and  shoulders 
and  is  wrapped  in  folds  round  the  figure." 

Long   mantles   of  Devonshire   or   reddish-brown  velvet, 


HISTORIC  DHESS  IN  AMERICA 


85 


trimmed  round  with  broad  leopard  skin  or  chinchilla,  and  worn 
with  bonnets  of  the  same,  were  also  very  fashionable.  Sable 
caps  and  furs  of  various  qualities  are  often  mentioned  ;  indeed, 
skins  of  every  kind  were  much  in  request. 

Another  invention  of  this  period  was,  "  the  Grecian  sandal 
in  the  form  of  a  half-boot,  cut  out  on  each  side  of  the  lace  holes, 
showing  the  stocking,  made  of  white  kid,  bound,  laced  and  em- 
broidered in  silver." 

In  a  letter  from  Paris  written  in  October,  1809,  we  read  : 
"  The  newest  materials  are  the  striped  sarsnets,  but  imperial 
bombazines,  gossamer  gauzes,  Italian  tiffanies,  spotted  cambrics 
and  fine  embroidered  muslins  are  still  much  worn  in  full  dress. 
Shot  and  figured  twill  sarsnets  remain  high  in  fashionable 
favour.  Scarfs  are  still  popular ;  we  have  noticed  several  in 
bright  jonquil.  The  simple  pelerine  in  white  tiffany  lined 
with  satin  and  trimmed  with  swansdown  is  truly  elegant. 
The  round  tippet  in  pink  or  white  satin  with  handkerchief 
ends  edged  with  lace  or  swansdown,  crossed  over  the  bosom  and 
tied  behind  with  a  bow  of  ribband,  is  also  very  genteel.  Man- 
tles of  every  possible  form  are  still  to  be  seen ;  the  prettiest  we 
have  observed  has  a  wrap  front  attached  to  the  shoulder,  and  is 
confined  to  the  figure  by  a  sash  passed  round  the  back  and 
brought  to  tie  in  a  bow  before.  Morning  and  walking  dresses 
are  still  made  high  in  the  neck,  but  with  collars  of  lace  meeting 
in  front  and  trimmed  round  the  throat  and  wrists  with  a 
double  row  of  shell  lace.  In  full  or  evening  dress  the  backs  of 
gowns  are  made  square  and  rather  high,  without  lining,  let  in 
on  the  bottom  of  the  waist  with  an  easy  fullness ;  the  bosoms 
are  worn  low  and  shoulders  much  exposed,  the  sleeves  long  and 
mostly  of  lace  ;  trains  are  still  moderate  in  length  ;  the  favour- 
ite sash  is  of  ribband  tied  on  the  left  side  with  small  bows  and 
loner  ends. 


86 


HISTORIC  DRESS  IK  AMERICA 


"  Lace  caps  or  combinations  of  lace  and  satin  have  taken  the 
place  of  straw  bonnets."  A  very  striking  cap  is  described  in  the 
same  letter.  "  It  is  of  oriental  silk  fastened  under  the  chin  by  a 
Turkish  handkerchief  caught  in  a  rosette  at  the  right  side,  or- 
namented with  a  demi-tiara  of  Indian  feathers."  Another  crea- 
tion is  described  of  "pink  satin  and  lace  with  a  cone-shaped 
crown,  the  front  of  alternate  stripes  of  lace  and  ribband.  It  is 
tied  in  a  careless  bow  on  the  right,  and  a  small  full  wreath  of 
heath  is  placed  under  the  brim  in  front." 

Another  invention  in  shoes,  and  a  rival  to  the  Grecian  san- 
dal, was  the  "  high  shoe  "  in  white  kid  bound  and  laced  with  a 
coloured  ribbon.  Gloves  were  made  in  straw,  stone  colour,  and 
bloom-pink  as  well  as  in  white.  Necklaces  in  amber,  sapphire, 
topaz,  pearl  and  gold,  with  drop  earrings  to  correspond  were 
much  worn. 

The  foreign  names  which  it  was  the  popular  fancy  to  give  to 
each  article  of  apparel  as  it  appeared,  were  carried  to  excess 
about  1809,  and  in  an  old  paper  of  that  year,  we  find  the  fol- 
lowing satirical  comment : 

"Mr.  Adair's  treaty  with  the  Sublime  Port  will  doubtless  in- 
troduce amongst  our  spring  fashions  a  profusion  of  Turkish  tur- 
bans, Janizary  jackets,  mosque  slippers,  and  a  thousand  similar 
whimsicalities ;  all  of  which  (provided  a  northern  coalition  be 
accomplished)  must  speedily  give  way  to  Russian  cloaks,  Hussar 
caps,  Cossack  mantles,  Danish  robes,  etc.,  etc.,  so  that  by  the 
setting  in  of  the  dog-days  our  ladies  will  stand  a  chance  of  be- 
ing arrayed  in  the  complete  costume  of  all  the  shivering  na- 
tions of  the  north.  Such  is  the  capricious  system  introduced 
and  acted  upon  in  the  empire  of  the  despotic  Goddess  of  Fash- 
ion." 


Women's  Dress 

18 10-1820 


"  My  love  in  her  attire  doth  shew  her  wit, 
It  doth  so  well  become  her, 
For  every  season  she  has  dressings  fit, 
For  Winter,  Spring  and  Summer." 

— Anonymous. 


N  1810  we  remark  a  few  noticeable  changes. 
According  to  "  La  Belle  Assemblee,"  "  the 
dresses  of  all  descriptions  are  made  fuller, 
which  is  undoubtedly  a  great  improve- 
ment, it  gives  ease  and  play  to  the  figure. 
Coloured  muslin  pelisses  of  a  very  trans- 
parent texture  are  very  fashionable,  the 
colours  of  every  kind  of  dress  are  of  pale 


■■■■■■■■■■■■■iiiii.imniM.iini    and  undecided  hues,  gay  colours  at  this 

season  would  appear  gaudy.    A  new  kind 

of  hat  has  just  appeared,  made  in  white  whalebone,  which  has 

all  the  delicacy  of  chip  and  from  its  transparent  quality,  has 

the  appearance  of  being  lighter ;  we  have  observed  several 

coloured  chips  and  straws,  and  have  also  remarked  that  they 

are  very  unbecoming,  as  well  as  inconvenient,  being  difficult  to 

adapt  to  every  kind  of  dress  ;  a  mixture  of  ribband  and  straw  is 

surely  to  be  preferred  "  (Figure  48). 

The  following  description  of  an  evening  full  dress  in  1810  is 

quoted  from  a  popular  authority  :  "  A  pale  blue  gossamer  silk 

87 


1814-1829 

Figure  60. — 1815 — Angouleme  walking  dress,  worn  at  the  time  of  the 
Bourbon  Eestoratiou. 

Figure  61. — 1829 — Opera  dress,  cloak  and  hat,  from  a  print.  Dress  of 
white  satin  brocade  piped  with  coral  satin,  worn  in  Philadelphia. 

Figure  62. — 1824 — White  embroidered  frock,  opening  over  a  white  em- 
broidered petticoat,  part  of  the  trousseau  of  Miss  Colquhoun,  of  Virginia. 

Figure  63. — 1824 — Dancing  frock  of  white  crepe  over  white  satin,  trimmed 
with  artificial  white  roses  with  tinsel  leaves.  Head  from  miniature  of 
the  day. 

Figure  64. — 1828 — Blue  silk  dress  with  flounce  of  gauze,  trimmed  with 

blue  satin  ribbon. 
Figure  65. — 1823 — Dancing  frock  of  pink  gauze  over  satin. 


HISTORIC  DEESS  IN  AMERICA 


91 


dress,  worn  over  a  white  satin  slip,  made  with  short  train,  open- 
ing up  the  front  and  tied  with  small  bows  of  white  satin  rib- 
band ;  long  sleeves  of  pale  blue  gossamer  net,  and  the  same 
shade  as  the  gown,  caught  down  on  the  outside  of  the  arm  with 
small  pearl  brooches,  the  tops  of  the  sleeves  and  bosom  of  the 
dress  bound  with  silver  edging,  and  trimmed  with  Valenciennes 
lace ;  the  bottom  of  the  skirt  and  train  are  trimmed  with  a  sil- 
ver edging,  a  little  above  which  is  laid  a  rich  Valenciennes  lace, 
on  the  head  is  worn  a  bandeau  of  pearls,  fastened  in  a  knot  on 
the  right  side,  with  a  Bird  of  Paradise  plume.  The  hair  in 
rather  short  full  curls  over  the  forehead,  and  curled  in  light 
ringlets  on  the  right  side  of  the  neck.  A  scarf  of  pale  buff  silk 
(ornamented  at  the  ends  with  white  silk  tassels)  is  worn  fanci- 
fully over  the  figure  and  confined  in  a  pearl  ring.  Pearl  ear- 
rings, shoes  of  pale  buff  satin,  yellow  kid  gloves." 

The  English  fashion  books  for  August,  1810,  record  the  fol- 
lowing attractive  costumes  :  "  A  lemon-coloured  sarsnet  dress, 
trimmed  with  an  embroidery  of  roses  :  a  white  lace  drapery 
with  train,  fastened  down  the  front  with  topaz  snaps ;  a  richly 
embroidered  scarf  is  thrown  carelessly  across  the  shoulders. 
Topaz  necklace  and  earrings.  The  hair  in  loose  ringlet  curls, 
divided  by  an  ornamental  comb.  Gloves  and  shoes  of  white  or 
lemon-coloured  kid.    A  bouquet  of  natural  flowers." 

"  Promenade  Walking  Dress. — A  plain  cambric  morning 
dress,  made  high  in  the  neck,  with  short  train,  let  in  round 
the  bottom  with  two  rows  of  worked  trimming.  A  pelisse  of 
green  sarsnet,  made  to  fit  the  shape,  trimmed  round  with  a  nar- 
row fancy  trimming  fastened  with  a  gold  brooch,  and  confined 
round  the  waist  with  a  girdle  of  the  sarsnet  with  a  gold  clasp. 
A  Lavinia  unbleached  chip  hat,  tied  down  with  a  broad  white 
sarsnet  ribband,  a  small  white  satin  cap  is  worn  underneath, 
with  an  artificial  rose  in  front.    The  hair  is  dressed  in  full 


92 


HISTOKIC  DRESS  IN  AMERICA 


curls.  A  plaid  parasol,  with  York  tan  gloves,  green  silk  san- 
dals."   A  picture  of  the  Lavinia  hat  is  given  in  Figure  13. 

A  new  fashion  in  1810  was  the  walking  shoe  of  brocaded 
silk,  or  embroidered  satin.  A  pair  of  the  latter  may  be  seen  in 
the  South  Kensington  Museum  (London)  of  black  satin  em- 
broidered in  coloured  flowers,  laced  up  the  front.  They  have 
leather  soles  and  no  heels.  Walking  shoes  of  nankeen  and 
sandals  of  jean  bound  with  coloured  ribbon  were  popular, 
while  the  newest  slippers  for  evening  wear  were  of  white  satin 
trimmed  with  silver  or  made  of  silver  brocade.  Light  delicate 
colours  were  especially  fashionable  at  that  time,  the  favourites 
being  pale  blue,  pink,  buff,  lavender,  straw,  lilac  and  yellow. 
White  satin  tippets  interlined  with  wadding  and  edged  all 
round  with  white  swansdown,  were  popular  for  chilly  days. 
Later  in  the  season  a  mantle  of  white  bombazine  lined  and 
bound  with  pale  green  is  mentioned  as  a  novelty,  and  white 
satin  caps  turned  up  in  front  with  two  small  ostrich  feathers, 
also  lace  hoods  trimmed  with  small  bunches  of  flowers  and  fast- 
ened under  the  chin,  were  introduced  in  the  autumn  of  1810. 

In  the  same  year  we  read  of  a  variation  in  gowns  which 
sounds  very  much  like  the  Princess  dress  so  fashionable  a  year 
or  two  ago.  "  Dresses  are  made  tight  to  fit  the  shape  without  a 
band,  buttoned  from  the  neck  to  the  feet  with  small  raised  but- 
tons." A  few  illustrations  may  be  seen  in  the  fashion  plates  of 
that  year,  and  there  is  a  well-known  portrait  of  Marie-Louise 
arriving  at  Compeigne  in  a  similar  costume,  but  it  does  not  ap- 
pear to  have  been  a  very  popular  fashion. 

We  read  with  pleasure  that  "  skirts  are  increased  in  width  ; 
they  must  no  longer  cling  but  hang  lightly  on  the  figure." 
Morning  dresses  were  made  high  in  the  neck  and  finished  with 
a  standing  ruffle  and  with  long  sleeves.  Dinner  gowns  were 
worn  both  high  and  low  according  to  the  taste  of  the  wearer 


HISTORIC  DRESS  IN  AMERICA 


93 


and  were  usually  made  with  moderate  trains.  Dancing  frocks 
were  invariably  short  and  on  entering  a  ballroom  one  could 
tell  at  a  glance  which  ladies  expected  to  dance  that  evening. 

During  Jefferson's  two  administrations,  1801-1809,  life  at  the 
capital  was  marked  by  a  modest  simplicity.  Under  the  genial 
sway  of  the  wife  of  Mr.  Madison,  who  took  up  her  abode  at  the 
White  House  in  March,  1809,  her  biographer,  Mrs.  Goodwin, 
says  :  "  Dress  grew  gayer,  entertainments  more  elaborate,  and 
when  the  President's  wife  took  the  air  it  was  in  a  chariot  built 
by  Fielding  of  Philadelphia  at  a  cost  of  fifteen  hundred  dol- 
lars." In  her  daily  home  life,  however,  we  read  that  this  lady 
wore  a  "  stuff  dress  protected  by  a  large  housewifely  apron  with 
a  linen  kerchief  pinned  about  the  neck."  At  that  period  ladies 
of  fashion  everywhere  made  use  of  rouge  and  pearl  powder. 
Speaking  of  this  practice  a  contemporary  letter  mentions : 
"  Mrs.  Madison  is  said  to  rouge,  but  it  is  not  evident  to  my 
eyes,  and  I  do  not  think  it  is  true,  as  I  am  well  assured  I  saw 
her  colour  come  and  go  at  the  Naval  Ball  when  the  Macedonian 
flag  was  presented  to  her  by  young  Hamilton."  There  are  sev- 
eral portraits  of  Mrs.  Madison  from  which  we  can  judge  for  our- 
selves of  her  style  of  dress.  The  most  familiar  is  probably  the 
half  length  painting  by  Wood  in  a  turban  (Figure  41).  Almost 
equally  well  known  is  another,  in  a  simple  white  muslin  gown, 
with  low  neck  and  short  sleeves,  the  hair  simply  parted  and 
curled  on  the  temples.  A  very  attractive  miniature  by  Peale 
taken  before  her  marriage  to  Mr.  Madison,  is  reproduced  in  Miss 
Wharton's  "  Social  Life  in  the  Early  Republic."  The  quaint 
cap  with  high  puffed  crown  in  the  portrait  is  very  becoming. 

On  the  occasion  of  one  of  the  state  balls  in  Washington  Mrs. 
Madison  is  described  as  wearing  a  stately  gown  with  a  long 
train  of  buff  velvet,  and  a  turban  of  the  same  colour  ornamented 
with  a  Bird  of  Paradise. 


9i 


HISTORIC  DRESS  IN"  AMERICA 


The  period  known  as  the  "  Regency  "  in  English  history, 
covered  the  years  from  1810-1819  and  was  distinguished  from 
the  first  decade  of  the  century  by  an  almost  lavish  extravagance 
in  social  life  and  costume.  Brighton  was  the  centre  of  gayety 
and  the  famous  dinners  and  suppers  of  the  Prince  Regent  were 
notoriously  expensive.  There  are  many  portraits  of  the  beauti- 
ful Mrs.  Fitzherbert,  who  for  a  time  set  the  fashions  for  the 
London  world. 

The  most  noticeable  changes  in  1811  were  in  the  bonnets  and 
hats  which  were  worn  much  larger  than  before,  the  brims  being 
lined  with  a  bright  colour  to  correspond  with  the  trimming. 
Full  frills  of  lace  were  worn  on  the  edge  of  some  of  the  most 
fashionable  bonnets  and  hung  down  over  the  forehead  (Figure 
75).  Lace  was  used  in  great  profusion  at  that  period  and 
several  different  kinds  of  this  beautiful  trimming  were  worn  on 
one  costume.  Mechlin  lace  was  perhaps  the  favourite,  but 
Brussels,  English  Point  and  Valenciennes  were  all  popular. 
There  were  many  varieties  of  pelisses  in  fashion,  but  the  close 
wrapping  kind  "  was  universally  adopted  for  cold  weather." 
They  were  wadded  throughout  and  lined  with  a  contrasting 
colour  of  soft  cambric  for  in  the  "  good  old  days"  silk  linings 
were  not  considered  essential  (Figures  96  and  98).  Frogs  of 
sewing  silk  called  Brandenburghs  were  used  to  fasten  the 
pelisses  down  the  front,  and  they  were  very  often  trimmed  with 
fur.  Shoes  of  white  Morocco  are  mentioned  among  the 
novelties  of  1811,  also  Kemble  slippers.  Roman  sandals 
vied  in  popularity  with  the  Grecian  sandals  of  the  preceding 
year,  but  the  exact  point  of  difference  is  hard  to  discover. 
Nets,  muslins,  gauzes,  and  crapes  were  still  the  favourite 
materials  for  gowns,  but  we  read  also  of  evening  dresses  of  satin 
and  velvet.  Jonquille  and  amber  were  the  most  fashionable 
colours.    Many  new  hats  are  mentioned  in  the  magazines  of 


HISTOEIC  DRESS  IN  AMERICA 


95 


London  and  Paris,  among  them  the  Comet  hat  which  we  are 
told  was  considered  very  stylish  for  carriage  wear.  In  Figure 
47  a  sketch  is  given  of  a  Spanish  hat  of  purple  velvet  with  a 
white  ostrich  plume  and  an  ermine  tippet,  taken  from  a  con- 
temporary print.  The  Buonapartian  hat  of  gauze  trimmed 
with  a  wreath  of  laurel  in  Figure  243  is  from  a  plate  of  1811. 
The  Cavalier's  hat  trimmed  in  front  with  a  large  ostrich 
feather  and  the  Pilgrim's  hat  of  Carmelite  brown  cloth  or 
velvet  with  an  ornament  in  the  shape  of  a  cockle-shell.  Dress- 
caps  made  of  lace  or  silk  and  lace  combined  were  worn  by 
young  and  old  with  evening  dress.  A  new  creation  was  the 
Devonshire  mob  with  a  point  on  the  forehead  and  usually  made 
of  fine  Brussels  lace.  It  was  worn  very  much  on  one  side  with 
the  hair  in  full  curls  on  the  exposed  side.  On  ordinary  occa- 
sions the  hair  was  dressed  with  great  simplicity,  generally  in  soft 
curls  held  in  place  by  a  comb.  For  full  dress,  flowers,  feathers, 
dress-caps  and  turbans,  still  in  popular  favour,  were  worn.  In 
a  September  magazine  of  that  year  (1811)  we  read  of  a  new  bon- 
net made  of  India  muslin  with  a  cone-shaped  crown  and 
trimmed  with  a  bow  of  lace  on  top,  around  the  face  a  deep  frill 
of  Mechlin  lace,  and  the  bonnet  lined  throughout  with  a 
bright  sea-green  sarsnet  (Figure  75)  ;  but  the  greatest  innova- 
tions of  fashion  were  the  short  kid  gloves  which  suddenly 
superseded  the  long  gloves  so  many  years  considered  indispen- 
sable with  short  sleeves.  Gowns  made  with  close-fitting  fronte 
were  preferred  and  were  cut  rather  higher  in  the  back  than  the 
front.  The  very  short  Grecian  waists  of  1800-1802  were 
temporarily  revived  by  the  ultra-fashionable.  The  sleeves 
were  usually  short  and  the  skirts  a  trifle  wider  at  the  bottom 
measuring  about  three  }^ards.  In  some  of  the  dresses  of  that 
date  we  find  the  front  breadth  slightly  gored  at  the  waist. 

Gold  chains  were  in  great  vogue  and  a  number  of  rings  and 


9G 


HISTOEIC  DEESS  IX  AMERICA 


bracelets  in  every  possible  device  were  worn.  A  single  string  of 
large  pearls  fastened  with  a  diamond  clasp  was  much  admired, 
but  emeralds  and  garnets  were  considered  especially  becoming 
to  the  complexion.  Watches  were  still  worn  in  locket  fashion, 
but  they  were  smaller  than  they  had  ever  been. 

"La  Belle  Assemblee  "  describes  nankeen  pelisses  with  an 
undervest  of  blue  satin  or  sarsnet,  to  be  worn  at  fetes 
champetres.  Morning  dresses,  it  seems,  were  made  in  the 
pelisse  shape,  buttoned  down  the  front  with  small  raised  buttons, 
or  with  an  apron  front  and  stomacher  let  in  and  laced  across 
like  a  peasant's  bodice,  with  coloured  ribbons,  and  others 
again  with  a  short  jacket  trimmed  with  lace.  Spencers  and 
mantles  edged  with  lace  also  and  large  squares  of  lace  were 
worn  over  the  shoulders.  Dinner  dresses  were  made  low  in 
front  and  high  in  the  back,  and  in  the  following  description  of 
an  evening  gown  in  a  London  periodical  we  notice  that  long 
sleeves  are  mentioned :  "  A  gown  of  plain  white  India  muslin, 
made  loose  in  the  neck,  with  long  sleeves,  and  short  train 
trimmed  with  a  fancy  border  of  stamped  leaves  in  satin.  A 
white  satin  cap,  ornamented  with  crimson  or  morone  coloured 
floss  silk  trimming.  A  short  Persian  scarf  of  morone  coloured 
silk,  with  rich  border  and  tassels,  is  fancifully  worn  over  the 
shoulders.  Amber  necklace  and  earrings.  Hair  in  full  curls, 
divided  rather  towards  the  left  side.  Gloves  and  shoes  of  white 
or  morone  kid."  Another  evening  costume  mentions  slippers 
with  very  pointed  toes  and  instead  of  the  newest  fashion  of 
short  gloves,  long  ones,  "  a  la  Mousquetaire,  with  many 
wrinkles." 

"  A  gossamer  satin  robe  of  French  grey  or  celestial  blue, 
with  a  demi-train  ;  stripes  of  white  lace  let  in  the  cross  way  of 
the  skirt,  and  relieved  by  a  very  narrow  border  of  black  velvet ; 
a  broad  lace  Vandyke  pattern  round  the  bottom  ;  short  sleeves 


HISTORIC  DRESS  IN  AMERICA 


97 


fastened  up  in  front  by  a  row  of  pearls.  A  lace  tippet,  a  la 
Duchesse  d'  Angouleme,  edged  with  a  border  of  Vandyke  lace. 
The  hair  in  soft  curls  next  the  face,  d  la  Greque ;  head-dress 
composed  of  plaited  braids  of  hair  and  pearls,  surmounted  with 
a  large  red  cornelian  ornament,  set  round  with  small  pearls  ; 
the  back  hair  arranged  in  a  knot  and  surrounded  with  a  row  of 
pearls  ;  necklace  also  of  pearls  in  two  rows.  Drop  earrings,  each 
composed  of  one  entire  pearl,  which  should  be  large.  A  square 
cornelian  brooch,  set  in  gold,  with  a  drop  pendant  of  pearl  to 
match  the  earrings.  Long  tippet  of  swansdown.  White  kid 
gloves,  wrinkled  so  as  to  cover  very  little  of  the  arm,  below  the 
elbow.  Slippers  of  kid  the  colour  of  the  gown,  the  toes  more 
pointed  than  usual,  with  small  pearl  or  white  bugle  rosettes." 

A  simple  every-day  costume  of  1812  is  given  at  the  head  of 
the  chapter,  taken  from  a  gown  of  white  corded  muslin  striped 
with  yellow,  which  was  worn  in  Philadelphia.  The  bodice  and 
sleeves  are  cut  on  the  bias  of  the  material  and  the  round  skirt 
is  trimmed  with  two  bias  ruffles. 

In  1812  a  Pamona  hat  of  green  satin  is  described  as  a 
novelty.  It  was  turned  up  in  front  and  drooped  low  on  each 
side  of  the  face,  not  unlike  the  hat  in  Figure  31,  which  was  a 
shape  popular  for  several  years.  A  new  morning  dress  came 
into  great  favour  at  this  time.  It  is  thus  described  by  a  con- 
temporary authority  :  "  The  most  fashionable  dishabille  is  the 
York  morning  dress.  It  is  made  up  to  the  throat ;  the  body  is 
composed  of  alternate  stripes  of  muslin  and  lace,  cut  in  a  bias 
form  ;  round  the  throat  a  rich  lace  ruff,  and  the  sleeves  edged 
with  a  very  fine  narrow  lace ;  it  is  buttoned  up  the  back 
and  has  a  demi-train  without  any  trimming."  Another  popular 
morning  dress  is  announced  in  an  English  magazine  :  "  The 
Russian  wrapper,  of  twilled  stuff,  is  a  very  neat  morning  dress, 
and  begins  to  be  a  favourite  ;  it  is  made  quite  tight  to  the 


1810-1824 

Figure  66. — 1817 — Fashionable  carriage  costume.  From  a  portrait  of  Prin- 
cess Charlotte,  by  Chalons. 

Figure  67. — 1810— Court  dress.  From  a  portrait  of  Mrs.  John  Quincy 
Adams,  by  Leslie. 

Figure  68. — 1820 — Carriage  costume.    From  a  contemporary  portrait. 

Figure  69. — 1818 — Street  dress.    From  a  portrait  of  Queen  Charlotte. 

Figure  70. — 1824 — High  comb  and  turn-over  collar.    From  a  miniature. 

Figure  71. — 1820 — Street  costume.    From  a  portrait  of  Queen  Charlotte. 


HISTORIC  DRESS  IN  AMERICA 


101 


shape  and  wraps  over  on  one  side  very  much  ;  it  is  fastened 
down  the  front  with  small  silk  buttons  to  correspond  with  the 
dress  ;  a  trimming  of  swansdown  goes  round  the  throat,  down 
the  side  which  wraps  over,  and  also  round  the  bottom  of  the 
dress,  which  is  made  walking  length  ;  long  sleeves  edged  also 
with  swansdown." 

Figure  111  shows  a  fashionable  riding  habit  of  1812  of 
bright  green  cloth  ornamented  down  the  front  and  on  the  cuffs 
ci  la  Militaire  with  black  braid.  The  small  riding  hat  is  of 
black  beaver  trimmed  with  a  gold  cordon  and  tassels  and  a  long 
green  ostrich  feather.  The  half-boots  are  black,  laced  and 
fringed  with  green,  and  the  gloves  are  York  tan.  As  this 
sketch  is  taken  from  the  famous  English  magazine  of  fashion, 
it  may  have  been  followed  by  Lady  Caroline  Lamb,  who  we 
are  told  had  just  returned  from  her  daily  ride  in  the  park, 
heated  and  dusty  from  exercise,  when  Lord  Byron  called  upon 
her  for  the  first  time.  She  rushed  to  her  room,  "  to  clean  her- 
self" as  she  expressed  it,  and  returned  radiant  in  a  fresh  toilet. 

The  back  view  of  another  riding  dress  is  given  in  Figure  109. 
It  was  made  of  the  fashionable  Georgian  cloth  (a  light-weight 
broadcloth)  and  trimmed  with  frogs.  A  hat  of  green  velvet 
and  white  fur,  buff  kid  boots  and  gloves  completed  the  costume. 

A  series  of  letters  published  in  the  "  National  Intelligencer  " 
at  Washington,  during  the  administration  of  President  Madison, 
puts  us  in  touch  with  the  fashionable  life  in  America.  Under 
the  date,  November  12,  1812,  we  read  an  enthusiastic  descrip- 
tion of  the  President's  wife:  "  .  .  .  I  would  describe  the 
dignified  appearance  of  Mrs.  Madison,  but  I  could  not  do  her 
justice.  'Tis  not  her  form,  'tis  not  her  face,  it  is  the  woman 
altogether,  whom  I  should  wish  you  to  see.  She  wears  a  crim- 
son cap  that  almost  hides  her  forehead,  but  which  becomes  her 
extremely,  and  reminds  one  of  a  crown  from  its  brilliant  appear- 


102 


HISTORIC  DEESS  IN  AMERICA 


ance  contrasted  with  the  white  satin  folds  of  her  dress,  and  her 
jet  black  curls  ;  but  her  demeanour  is  so  far  removed  from  the 
hauteur  generally  attendant  on  royalty  that  your  fancy  can 
carry  the  resemblance  no  further  than  the  head-dress."  * 

This  "  crimson  cap "  was  of  the  shape  popularly  called  a 
turban.  A  portrait  of  Mrs.  Madison  is  given  in  Figure  41,  in  a 
similar  coiffure.  One  of  these  letters  describes  a  dinner  given 
on  board  the  "  Constellation/'  that  famous  old  war-ship  which 
is  still  preserved  at  the  training  station  at  Newport,  and  proves 
that  fashions  have  changed  very  much  in  ships  as  well  as  in  dress 
during  the  last  hundred  years  :  " .  .  .  Some  days  ago  in- 
vitations were  issued  to  two  or  three  hundred  ladies  and  gentle- 
men, to  dine  and  spend  the  day  with  Colonel  Wharton  and 
Captain  Steward  on  board  the  '  Constellation,'  an  immense  ship 
of  war.  This,  of  all  the  sights  I  have  ever  witnessed,  was  the 
most  interesting.  .  .  .  On  reaching  the  deck  we  were  ushered 
immediately  under  the  awning  composed  of  many  flags,  and 
found  ourselves  in  the  presence  of  hundreds  of  ladies  and  gentle- 
men. The  effect  was  astonishing  :  every  colour  of  the  rainbow, 
every  form  and  fashion,  nature  and  art  ransacked  to  furnish  gay 
and  suitable  habiliments  for  the  belles,  who  with  the  beaux  in 
their  court  dresses,  were  gayty  dancing  to  the  inspiring  strains  of 
a  magnificent  band.  The  ladies  had  assumed  youth  and  beauty 
in  their  persons,  taste  and  splendour  in  their  dress ;  thousands 
of  dollars  having  been  expended  by  dashing  fair  ones  in  prepa- 
ration for  this  fete.  ...  At  the  upper  end  of  the  quarter- 
deck sat  Mrs.  Madison,  to  whom  we  paid  our  respects,  and  then 
participated  in  the  conversation  and  amusements  with  our 
friends,  among  whom  were  Mrs.  Munroe,  Mrs.  Gallatin,  etc.  I 
did  not  dance  (though  'twas  not  for  want  of  asking)  being 
totally  unacquainted  with  the  present  style  of  cotillions,  which 

*  By  Mrs.  Seaton. 


HISTORIC  DRESS  IN  AMERICA 


103 


were  danced  in  the  interstices,  that  is,  on  a  space  four  feet 
square.  There  was  more  opportunity  to  display  agility  than 
grace,  as  an  iron  ring,  a  coil  of  rope,  or  a  gun-carriage  would 
prostrate  a  beau  or  belle." 

In  another  letter  (January  2,  1813)  Mrs.  Seaton  mentions 
the  gay  and  youthful  dressing  of  ladies  who  had  reached  the 
advanced  age  of  fifty.  Alack  !  History  sometimes  repeats  it- 
self! 

"  The  assembly  was  more  numerous  at  the  Secretary  of  the 
Treasury's,  more  select,  more  elegant,  than  I  have  yet  seen  in 
the  city.  Ladies  of  fifty  years  of  age  were  decked  with  lace  and 
ribbons,  wreaths  of  roses  and  gold  leaves  in  their  false  hair, 
wreaths  of  jasmine  across  their  bosom,  and  no  kerchiefs  !  In- 
deed, dear  mother,  I  cannot  reconcile  this  fashion  to  myself, 
and  though  the  splendid  dress  of  these  antiquated  dames  of  the 
beau  monde  adds  to  the  general  grandeur,  it  certainly  only 
tends  to  make  the  contrast  still  more  striking  between  them 
and  the  young  and  beautiful.  .  .  .  Madame  Bonaparte  is  a 
model  of  fashion,  and  many  of  our  belles  strive  to  imitate  her  ; 
.  .  .  but  without  equal  6clat,  as  Madame  Bonaparte  has  cer- 
tainly the  most  transcendently  beautiful  back  and  shoulders 
that  ever  were  seen.  .  .  .  It  is  the  fashion  for  most  of  the 
ladies  a  little  advanced  in  age  to  rouge  and  pearl,  which  is 
spoken  of  with  as  much  sang  froid  as  putting  on  their  bonnets." 

In  all  the  fashion  books  of  that  time  we  find  frequent  men- 
tion of  the  Regency  wrapper,  a  morning  dress  which  was  long 
and  close  fitting,  and  laced  up  the  front  with  a  silk  cord.  It 
was  richly  trimmed  with  velvet  or  sealskin,  and  finished  at  the 
throat  with  a  collar  cut  in  points.  The  sleeves  were  long  and 
tight  and  trimmed  with  epaulets.  Another  popular  garment 
was  the  Regency  mantle,  which  was  generally  of  cloth  with  a 
small  round  cape  and  high  collar  trimmed  with  bias  folds  of 


104 


HISTORIC  DRESS  IN  AMERICA 


velvet  or  satin  edged  with  a  narrow  cord.  One  of  these 
mantles  is  described  in  "  La  Belle  Assemblee  "  (1813)  of  black 
cloth  trimmed  with  apple  green  satin. 

The  costume  in  Figure  44  shows  the  popular  Regency  hat  of 
velvet  trimmed  with  sealskin.  The  high  crown  was  large  at 
the  top  and  a  long  ostrich  plume  was  fastened  at  the  right  side, 
brought  across  the  crown  and  drooped  over  the  left  ear.  A  gold 
buckle  ornaments  the  brim  in  front.  Worn  with  this  hat  was 
the  Regency  jacket  of  cloth  trimmed  with  narrow  bias  folds  and 
edged  with  sealskin  and  the  long  sleeves  with  epaulets  which 
were  apparently  the  chief  distinction  in  the  Regency  garments. 
Of  course  there  was  a  Regency  ball  dress  too.  This  was  a  frock 
of  velvet,  satin  or  satin-cloth  trimmed  around  the  bottom  and 
up  the  fronts  with  a  bias  fold  of  satin  or  velvet  edged  with 
narrow  silk  fringe.  Epaulets  of  satin  and  fringe  were  worn  on 
the  shoulders,  and  the  long  sleeves  fastened  in  front  of  the  arm 
with  three  small  buttons. 

A  London  correspondent  for  a  contemporary  magazine  says  : 
"  Everything  now  takes  its  name  from  our  beloved  Regent ; 
hats,  caps,  dresses,  mantles,  in  short  all  the  paraphernalia  of  a 
well-dressed  belle  is  distinguished  by  that  appellation,  and  so 
various  are  the  habiliments  which  have  no  other  name,  that  we 
were  not  surprised  at  hearing  a  young  lady  from  the  country 
inquire  the  other  day  of  a  fashionable  dressmaker  at  the  west 
end  of  the  town,  who  had  been  showing  her  a  variety  of  head- 
dresses, '  Pray,  after  all,  which  of  these  is  the  real  Regency 
cap  ? '  " 

We  trust  the  picture  in  Figure  45,  taken  from  an  unim- 
peachable authority,  may  prove  satisfactory  to  our  readers  :  "  A 
Regency  cap  of  white  lace,  with  a  small  front  turned  up  all 
round,  and  what  was  formerly  termed  a  beef-eater's  crown  of 
lace  drawn  very  full  ;  three  ostrich  plumes  are  affixed  to  the 


HISTOEIC  DRESS  IN  AMERICA 


105 


right  side  of  the  crown,  and  a  twisted  rouleau  of  satin  ornaments 
the  front." 

The  unfortunate  Princess  Caroline  also  had  a  bonnet  named 
for  her.  The  description  is  most  attractive  :  It  was  made  of 
"  white  satin  with  a  round  crown,  the  front  turned  up  a  little 
on  one  side;  at  the  other  a  small  white  lace  cap  was  just  vis- 
ible. The  edge  of  the  front  was  finished  with  a  rich  silk  trim- 
ming, of  the  palest  pink  and  a  very  long  pale  pink  feather  fell 
over  to  the  left  side."  A  contemporary  authority  says,  "  Noth- 
ing can  be  more  elegant  than  this  bonnet,  which  is  also  the 
most  generally  becoming  thing  that  we  have  seen." 

The  Cossack  hat  was  also  very  fashionable  ;  it  was  made  of 
white  satin  too,  but  the  shape  was  a  helmet  crown  and  the 
front,  which  turned  up  all  round,  was  sloped  a  little  in  the 
middle,  and  was  edged  with  pearls  ;  it  was  finished  with  a 
small  white  feather,  placed  rather  to  the  side. 

For  every-day  wear  cottage  bonnets  were  still  in  favour,  and 
riding  hats  which  were  of  plain  straw  of  the  same  shape  as  the 
gentlemen's,  were  adopted  for  walking  dress  also  (Figure  113). 
They  were  sometimes  trimmed  with  a  figured  ribband  with  a 
bow  in  front,  while  the  cottage  bonnets  were  appropriately 
trimmed  with  flowers.  As  we  notice  in  the  following  descrip- 
tion of  a  walking  dress  in  "La  Belle  Assemblee"  for  June,  1813, 
bodices  were  again  worn  very  low  and  full,  and  the  skirts  were 
again  narrower,  a  revival  of  the  fashion  prevalent  from  1800- 
1810. 

"  Short  dress  of  jaconet  muslin,  made  rather  scantier  in  the 
skirt  than  they  have  been  worn,  and  cut  down  as  much  as  pos- 
sible all  round  the  bosom  and  back  of  the  neck.  The  body 
full,  but  drawn  in  at  the  top  of  the  back,  which  is  ornamented 
with  a  white  silk  button  and  confined  to  the  waist  by  a  girdle 
of  rich  white  figured  ribband,  a  jacket  of  the  same  materials  as 


106 


HISTORIC  DRESS  IN  AMERICA 


the  gown,  fastened  to  the  waist  by  a  white  silk  button.  Over 
this  our  fair  pedestrians  throw  a  sky-blue  scarf,  bonnet  of  white 
willow-shavings,  ornamented  with  a  flower  and  wreath  of  sky- 
blue,  and  tied  under  the  chin  with  a  ribband  to  correspond. 
Hair  dressed  in  very  loose  curls  on  each  side  of  the  temple,  and 
parted  in  front.  Gloves  and  sandals  of  sky-blue,"  and  to  com- 
plete the  colour  scheme  "  a  parasol  also  of  sky-blue  silk, 
trimmed  with  a  deep  fringe  to  match." 

In  the  winter  of  1813  we  read  of  a  "high  dress  for  walking, 
of  ruby  merino  cloth,  made  very  tight  to  the  shape  and  the 
waist  rather  longer  than  last  season.  Made  up  to  the  throat, 
without  a  collar:  buttoned  in  front  from  the  throat  to  the 
waist,  and  finished  at  the  waist  by  a  broad  band  of  rich 
fancy  ribband  of  a  very  dark  bottle  green  shot  with  ruby ; 
two  rows  of  the  same  ribband  go  around  the  bottom  of  the  dress, 
which  is  made  walking  length.  A  long  sleeve,  easy  but  not 
very  wide,  is  finished  by  a  cuff  of  the  same  ribband.  The 
throat  was  also  finished  with  a  binding  of  ribband  and  displayed 
a  rich  lace  shirt  with  a  collar  also  of  lace  put  on  quite  plain. 
White  satin  cap,  with  a  rich  broad  lace  quilling  in  front,  and 
tied  under  the  chin  by  a  white  lace  handkerchief.  A  white 
lace  veil  reaching  to  the  shoulders  was  thrown  carelessly  over 
the  cap.  With  this  costume  were  worn  York  tan  gloves,  and 
black  kid  half-boots." 

Another  striking  garment  was  the  Kutusoff  mantle,  made  of 
pale  pink  or  scarlet  cloth,  trimmed  with  a  broad  velvet  ribband 
to  correspond,  a  spencer  of  the  same  material,  one  sleeve  of 
which  was  concealed  by  the  folds  of  the  mantle  ;  the  collar, 
which  was  high  and  puckered,  fastened  at  the  throat  with  a 
broach ;  and  a  long  lappel,  ending  in  a  point  fell  over  the  left 
shoulder.  A  Kutusoff  hat  to  match  turned  up  in  front,  with  a 
little  corner  to  the  right  side,  tied  under  the  chin,  and  was  finished 


HISTORIC  DRESS  IN  AMERICA 


1()7 


with  a  pink  or  scarlet  feather ;  a  full  puffing  of  lace  or  net  was 
seen  underneath  *  (Figure  81). 

The  Rutland  poke  was  a  popular  variation  in  bonnets  ;  of 
white  satin,  edged  with  swansdown,  and  wadded  and  lined  with 
white  sarsnet,  the  front  was  cut  in  points,  and  tied  under  the 
chin  with  a  soft  white  ribband  ;  an  ostrich  feather  of  a  colour 
corresponding  with  the  pelisse  or  mantle  was  placed  very  much 
on  one  side. 

Miss  Austen  wrote  from  Bath  in  1813,  on  the  subject  of  caps, 
to  her  sister :  "  .  .  .  Miss  Hare  had  some  pretty  caps,  and 
is  to  make  me  one  like  one  of  them,  only  white  satin,  instead  of 
blue.  It  will  be  white  satin  and  lace,  and  a  little  white  flower 
perking  out  of  the  left  ear,  like  Harriet  Byron's  feather.  I 
have  allowed  her  to  go  as  far  as  £1  16  s.  My  gown  is  to  be 
trimmed  everywhere  with  white  ribbon  plaited  on  somehow  or 
other.  She  says  it  will  look  well.  I  am  not  so  sanguine. 
They  trim  with  white  very  much."  f  And  we  read  in  one  of 
the  authorities  of  the  day  that  "  lace  caps  are  universal  for  full 
dress,  although  turbans  have  not  lost  their  popularity." 
Among  other  novelties  the  "  Wellington  hood  "  seems  to  have 
been  a  lace  cap  made  full  at  the  temples  and  ornamented  with  a 
sprig  of  geranium  in  front  but  suggests  neither  in  style  nor 
colour  the  name  of  the  great  warrior.  Much  more  worthy  of 
its  name  is  the  Wellington  mantle,  which  is  described  as  fol- 
lows :  "  A  piece  of  cloth  about  three  yards  in  length,  and  one  in 
breadth,  entirely  bias,  which  makes  it  hang  very  gracefully, 
and  sloped  at  each  end  to  a  point ;  the  cape  is  formed  like  a 
half  handkerchief  and  the  collar  which  is  about  an  eighth  of  a 
yard  deep  falls  a  little  over  it.  The  mantle  is  drawn  in  with  a 
slight  fullness  to  the  waist  and  forming  a  sort  of  jacket  in  the 
back  ;  it  is  usually  made  of  slate  colour  or  brown  cloth  :  and 

*  La  Belle  Assembled.  t  Letters  of  Jane  Austen. 


1832-1838 

Figuee  72. — 1834 — "Wedding  dress  of  white  gauze  over  satin,  worn  by  a 
Quaker  bride  in  Philadelphia.    Head  from  a  portrait  of  the  day. 

Figuee  73. — 1832 — Yellow  brocade  trimmed  with  folds  of  the  same  ma- 
terial, worn  by  Miss  Mary  Brinton,  of  Philadelphia.  Head  from  a 
contemporary  portrait. 

Figuee  74. — 1838 — Dress  of  pale  pink  satin,  sleeves  trimmed  with  blonde 
lace,  part  of  the  wedding  outfit  of  Miss  Mary  Brinton,  of  Philadelphia. 
Head  from  portrait  of  the  day. 

Figuee  75. — 1833 — Dress  of  blue-greeu  taffeta,  with  puffed  sleeves  and  cape 
trimmed  with  pipings  of  the  silk.    Head  from  a  contemporary  print. 


HISTORIC  DRESS  IN  AMERICA 


111 


its  principal  attraction  is  the  trimming  which  is  a  very  rich 
embroidery  of  laurel  leaves  in  coloured  silks  ;  the  effect  is  really 
beautiful." 

An  attractive  half-dress  is  given  for  February,  1813  : 
"  Plain  frock  of  amber  satin-cloth,  shot  with  white,  and 
ornamented  round  the  bosom  and  the  waist  with  a  rich  white 
silk  trimming,  called  frost  work  ;  it  is  the  lightest  and  most 
elegant  trimming  we  have  seen  for  some  time,  and  is  universally 
worn  ;  a  double  row  of  this  trimming  crosses  the  breast.  The 
back,  which  is  plain  and  very  broad,  is  ornamented  with  pearl 
buttons,  or  small  silk  ones  to  correspond  with  the  trimming. 
White  lace  sleeves,  made  very  full,  fastened  about  the  middle  of 
the  arm  by  a  broad  band  of  '  letting  in  '  lace  [insertion]  and 
drawn  up  by  two  buttons  near  the  shoulder,  while  the  fullness 
which  falls  near  the  bottom  is  confined  by  one ;  plain  demi- 
train."  * 

In  the  year  1814,  Napoleon  having  given  up  the  fight  for  a 
time  and  retired  to  Elba,  the  English  people  of  fashion  hastened 
to  Paris,  and  a  wag  of  the  day  expressed  his  sentiments  in  this 
couplet  : 

"  Loudon  now  is  out  of  town, 

Who  in  England  tarries, 
"Who  can  bear  to  linger  there 

While  all  the  world's  in  Paris? 
Mrs.  Brills  is  full  of  ills, 

Nothing  can  improve  her, 
Unless  she  sees  the  Tooleries, 

Or  waddles  thro'  the  Louvre  ! " 

Later  the  Emperor  of  Russia  went  over  to  London  with  his 
sister  the  Duchess  of  Oldenburg  who  introduced  a  novelty  in 
bonnets  which  was  immediately  named  after  her.  This  bonnet 
was  long  and  narrow,  projecting  far  over  the  face,  and  was 
ridiculed  by  a  contemporary  comic  singer. 

*  La  Belle  Assembled. 


112 


HISTORIC  DRESS  IN  AMERICA 


"  Then  the  ladies  their  dresses  are  equally  queer, 
They  wear  such  large  bonnets  their  face  can't  appear, 
It  put  me  in  mind,  don't  think  I'm  a  joker, 
Ot  a  coal-scuttle  stuck  on  the  head  of  a  poker." 

The  sketch  of  the  Oldenburg  bonnet  given  in  Figure  43  is 
copied  from  a  portrait  of  the  Duchess  at  the  time  of  her  visit. 

Dear  Miss  Austen  gives  us  some  interesting  items  of  the 
fashions  in  England,  in  her  letters  of  1814.  Of  an  alteration  in 
the  shape  of  stays  she  says  :  "  I  learnt  from  Mrs.  Tickars's 
young  lady,  to  my  high  amusement,  that  the  stays  now  are  not 
made  to  force  the  bosom  up  at  all ;  that  was  a  ver}^  unbecoming, 
unnatural  fashion.  I  was  really  glad  to  hear  that  they  are  not 
to  be  so  much  off  the  shoulders  as  they  were." 

The  fashion  of  using  ribbon  for  trimming,  and  the  comfort- 
able feeling  of  having  a  suitable  dress,  which  has  doubtless 
found  an  echo  within  many  a  pair  of  stays,  are  expressed  in 
an  extract  from  another  letter  of  the  same  year :  " .  .  .  I 
have  determined  to  trim  my  lilac  sarsnet  with  black  satin  rib- 
bon just  as  my  China  crape  is,  6d.  width  at  the  bottom,  3d.  or 
4d.  at  top.  Ribbon  trimmings  are  all  the  fashion  at  Bath,  and 
I  dare  say  the  fashions  of  the  two  places  are  alike  enough  in 
that  point  to  content  me.  With  this  addition  it  will  be  a  very 
useful  gown,  happy  to  go  anywhere." 

The  following  extract  mentions  a  gown  with  long  sleeves, 
about  which  Miss  Austen  expresses  some  doubt :  " .  .  .  I 
wear  my  gauze  gown  to-day,  long  sleeves  and  all.  I  shall  see 
how  they  succeed,  but  as  yet  I  have  no  reason  to  suppose  long 
sleeves  are  allowable.  I  have  lowered  the  bosom,  especially  at 
the  corners,  and  plaited  black  satin  ribbon  round  the  top. 
.  .  .  Mrs.  Tilson  had  long  sleeves  too,  and  she  assured  me 
that  they  are  worn  in  the  evening  by  many.  I  was  glad  to 
hear  this." 


HISTORIC  DRESS  IN  AMERICA 


113 


Mrs.  Bell,  the  celebrated  London  modiste,  made  a  happy  hit 
when  she  invented  an  evening  crush  hat  for  ladies.  It  is  elo- 
quently announced  in  her  magazine  for  January,  1814  : 

"  A  Lady's  Chapeau  Bras. — A  most  novel  and  ingenious 
Ladies'  head-dress  will  make  its  appearance,  for  the  first  time,  on 
Thursday,  February  3d.  It  is  a  Lady's  Chapeau  Bras,  an  orig- 
inal and  unrivalled  head-dress  of  Millinery,  and  combines  the 
following  most  important  advantages  : — Elegance,  from  the 
originality  of  its  form,  and  the  beauty  of  its  materials.  Sec- 
ondly, Convenience,  as  it  is  adapted  to  be  worn  over  the  head-dress 
of  Ladies,  without  the  hair  or  any  part  of  the  dress  being  in  the 
least  deranged  when  the  Chapeau  Bras  is  removed  from  the 
head.  Thirdly,  it  is  made  so  that  it  may  be  taken  off  previous 
to  entering  a  room,  or  public  place  of  resort,  and  carried  in  the 
hand  or  under  the  arm,  with  as  little  inconvenience  as  a  pocket- 
handkerchief  ;  in  truth,  with  no  inconvenience  whatever.  It 
has  also  the  additional  advantage  that  a  Lady  may  walk  full 
dressed  along  the  streets  without  being  conspicuous.  The  idea  sug- 
gested itself  to  the  Inventress  from  the  numberless  inconve- 
niences ladies  are  subjected  to  when  full  dressed  from  the  want 
of  a  proper  covering  for  the  head-dress,  in  going  to  routs,  operas, 
plays,  etc.,  etc.  By  this  original  and  elegant  preserver  of 
Ladies'  head-dresses,  the  health  will  be  preserved,  and  the  dan- 
gerous effects  of  colds  will  be  prevented.  In  short  the  Ladies1 
Chapeau  Bras  will  be  found  a  desideratum  in  Ladies'  costumes, 
and  requires  only  to  be  seen  to  be  approved.  Ladies  in  the 
country  can  be  supplied  with  the  Chapeau  Bras,  on  commis- 
sioning a  friend  in  London  ;  its  form  being  generally  adapted 
to  all  complexions  and  sizes." 

This  convenient  head-covering  was  made  like  the  calashes 
of  the  previous  century,  on  wires  run  through  cases. 

The  Oldenburg  dinner  dress,  named  by  Mrs.  Bell,  in  honour 


1U  HISTORIC  DRESS  IX  AMERICA 

of  the  distinguished  visitor,  was  a  "  white  satin  slip,  decorated 
round  the  bottom  with  a  rich  white  lace,  and  headed  with  pearl 
trimming.  Over  the  slip  is  a  short  Russian  robe  of  white 
crape  open  front,  edged  with  a  rich  pearl  trimming  to  corre- 
spond with  the  slip  ;  the  wreaths  which  ornament  the  robe  are 
formed  of  pearls  also,  to  correspond.  The  back  is  made  full, 
and  the  waist  very  short.  Long  sleeves  of  crape  trimmed  with 
pearl  bands  at  regular  distances.  Small  lace  cap,  decorated 
with  pearls,  and  finished  with  tassels  to  match  ;  a  fancy  flower 
is  placed  to  the  side."  "  The  form  of  this  cap  "  we  learn  "  is  ex- 
tremely elegant,  exquisitely  tasteful,  and  becoming."  Also 
that  "  a  white  satin  Chapeau  Bras,  ornamented  with  a  spread 
eagle  on  the  crown,  worked  in  chenille,  is  indispensable." 
With  this  costume  the  hair  should  be  worn  in  loose  ringlets  in 
front,  and  twisted  up  d  la  Greque  on  the  left  side,  and  there  fast- 
ened in  a  full  knot.  Gloves  and  slippers  of  white  kid  are  sug- 
gested and  an  ivory  fan.* 

Scotch  plaid  or  tartan  came  into  fashion  again  in  1814.  An 
adaptation  of  scarf  and  bonnet  for  walking  costume  is  shown  in 
Figure  49  called  the  Huntley  costume. 

In  the  pages  of  the  "  National  Intelligencer,"  a  letter  of  Mrs. 
Seaton,  wife  of  the  editor,  is  given  describing  the  New  Year's 
Reception  at  the  White  House,  and  the  discomforts  of  the  heat 
and  crush  : 

"  January  2,  1814- 
" .  .  .  Yesterday  being  New  Year's  day,  everybody,  af- 
fected or  disaffected  towards  the  government,  attended  to  pay 
Mrs.  Madison  the  compliments  of  the  season.  Between  one  and 
two  o'clock  we  drove  to  the  President's  where  it  was  with  much 
difficulty  we  made   good   our   entrance,  though  all  of  our 

*  La  Belle  Assemblee,  July,  1814. 


HISTORIC  DRESS  IN  AMERICA 


115 


acquaintances  endeavoured  with  the  utmost  civility  to  compress 
themselves  as  small  as  they  could  for  our  accommodation.  The 
marine  band,  stationed  in  the  anteroom,  continued  playing  in 
spite  of  the  crowd  pressing  on  their  very  heads.  But  if  our 
pity  was  excited  for  these  hapless  musicians,  what  must  we  not 
have  experienced  for  some  members  of  our  own  sex,  who,  not 
foreseeing  the  excessive  heat  of  the  apartments,  had  more  reason 
to  apprehend  the  efforts  of  nature  to  relieve  herself  from  the 
effects  of  the  confined  atmosphere.  You  perhaps  will  not  under- 
stand that  I  allude  to  the  rouge  which  some  of  our  fashionables 
had  unfortunately  laid  on  with  an  unsparing  hand,  and  which 
assimilating  with  the  pearl-powder,  dust  and  perspiration,  made 
them  altogether  unlovely  to  soul  and  to  eye." 

Our  ladies  of  fashion  were  following  the  example  of  their 
cousins  across  the  sea  even  in  those  days.  A  London  wit, 
parodying  the  "  Maid  of  Athens,"  wrote  to  a  suburban  damsel : 

"  Is  thy  blush,  which  roses  mocks, 
Bought  at  three  and  six  per  box  f 
And  those  lips  I  seem  to  taste, 
Are  they  pink  with  cherry  paste? 
Gladly  I'd  the  notion  scout, 
Answer  me,  1  It  is  not  so ' 
Maid  of  Clapham,  come,  no  larks, 
For  thy  shoulders  leave  white  marks, 
Tell  me,  quickly  tell  to  me, 
What  is  really  real  in  thee  ?  " 

The  President's  wife,  as  we  have  already  been  told  by  a  con- 
temporary, did  not  use  either  rouge  or  pearl-powder,  and  with- 
out the  aid  of  these  artificial  agents  made  a  very  imposing 
appearance  on  occasions  of  state.  According  to  Mrs.  Seaton, 
"  Her  majesty's  appearance  was  truly  regal,  dressed  in  a  robe  of 
pink  satin,  trimmed  elaborately  with  ermine,  a  white  velvet 
and  satin  turban,  with  nodding  ostrich  plumes  and  a  crescent  in 


116 


HISTORIC  DRESS  IN  AMERICA 


front,  gold  chain  and  clasps  around  the  waist  and  wrists.  Tis 
here  the  woman  that  adorns  the  dress  and  not  the  dress  that 
beautifies  the  woman.  I  cannot  conceive  a  female  better  cal- 
culated to  dignify  the  station  which  she  occupies  in  society 
than  Mrs.  Madison.  Amiable  in  private  life  and  affable  in 
public,  she  is  admired  and  esteemed  by  the  rich  and  beloved  by 
the  poor.  You  are  aware  that  she  snuffs  ;  but  in  her  hands  the 
snuff-box  seems  only  a  gracious  implement  with  which  to 
charm.  Her  frank  cordiality  to  all  guests  is  in  contrast  to  the 
manner  of  the  President,  who  is  very  formal,  reserved  and 
precise,  yet  not  wanting  in  a  certain  dignity.  Being  so  low  of 
stature  he  was  in  imminent  danger  of  being  confounded  with 
the  plebeian  crowd ;  and  was  pushed  and  jostled  about  like  a 
common  citizen,  but  not  so  with  her  ladyship  !  The  towering 
feathers  above  the  excessive  throng  distinctly  pointed  out  her 
station  wherever  she  moved." 

Noticeable  among  the  new  modes  of  1814  were  the  Cache- 
mire  shawls.  They  were  very  expensive  and  therefore  very 
much  admired,  but  a  contemporary  authority  speaks  of  them  as 
"  most  graceful  and  becoming." 

Pelerines  were  still  very  popular,  but  they  were  made  longer 
and  fuller,  the  ends  crossed  over  the  bosom  and  held  in  by  a 
sash  at  the  waist  and  hanging  down  each  side.  They  were 
especially  pretty  made  of  sheer  muslin,  trimmed  with  a  frill  of 
the  same  ;  and  of  China  silk,  finished  with  a  puffing  of  ribbon. 

The  Bourbon  hat  and  mantle  were  named  to  celebrate  the 
return  of  the  Royal  family  to  Paris.  The  hat  was  a  favourite  of 
the  Duchesse  d'Angouleme.  and  was  generally  made  of  blue 
satin  trimmed  with  fleurs-de-lis  in  pearls  ;  an  edging  of  floss 
silk  and  pearls  finished  the  brim  and  a  white  ostrich 
feather  was  placed  on  one  side.  It  was  said  of  this  hat  in  the 
advertisement,  that  not  the  least  of  its  recommendations  was 


HISTOKIC  DEESS  IN  AMERICA 


117 


that  it  could  be  "  packed  in  a  portmanteau  in  scarcely  any 
space."  Fleurs-de-lis  trimmed  both  the  Bourbon  dress  and 
mantle.  The  Angouleme  spencer  and  the  Angouleme  hat  also 
had  temporary  popularity.  The  back  of  the  former  was  made 
full  and  was  very  becoming  to  the  figure,  the  front  was 
trimmed  with  fleurs-de-lis  of  chenille.  This  costume  is  illus- 
trated in  Figure  60  from  a  fashion  plate  of  1814. 

Large  Spanish  hats  and  feathers  were  a  pretty  fashion  which 
followed  the  Regency  hats  in  favour,  and  small  slouch  hats  and 
feathers  are  spoken  of  as  "  very  becoming  to  a  delicate  face." 
Of  veils  we  read  :  "  Nun's  veils  are  now  worn  as  drapery  in 
full  dress,  but  the  manner  in  which  they  are  put  on  depends 
entirely  on  the  taste  of  the  wearer.  Some  ladies  bring  them 
round  the  neck,  so  as  partly  to  shade  it,  and  one  side  of  the  face 
also ;  others  have  them  fastened  very  far  back  on  the  head,  and 
wrap  them  carelessly  round  one  arm  ;  but  in  whatever  way  they 
are  worn  they  can  be  becoming  only  to  tall  and  graceful  figures ; 
when  adopted  by  undersized  belles  they  are  the  very  reverse  of 
becoming." 

The  Princess  Augusta  poke  bonnet,  named  for  the  king's 
daughter,  was  usually  made  to  match  the  pelisse,  both  in 
material  and  colour. 

In  her  entertaining  book,  "  Social  Life  in  the  Early  Repub- 
lic," Miss  Wharton  says  :  "  Washington  was  so  gay  during  the 
winter  of  1815  that  it  would  have  been  difficult  to  believe  it 
had  so  recently  known  war  and  devastation,  had  it  not  been  for 
those  silent  witnesses,  the  ruined  Capitol  and  White  House, 
whose  charred  remains  were  blots  upon  the  smiling  plain."  On 
their  return  to  the  capital  after  the  conflagration,  Mr.  and  Mrs. 
Madison  took  up  their  abode  in  the  famous  Octagon  House, 
where  in  the  following  February  the  Treaty  of  Peace  was 
signed. 


1804-1820 

Figure  76. — 1811 — Fashionable  outdoor  costume  showing  scarf  drapery  and 

cone-shaped  hat.    From  a  fashion  plate. 
Figure  77. — 1804 — Empire  gown  and  child's  dress  trimmed  with  Valenci- 

.  ennes  lace.    From  a  portrait  of  the  Queen  of  Naples,  by  Le  Brun. 
Figure  78. — 1817 — Court  hoop  and  feathers, — the  regulation  costume  for 

English  Court  functions.    From  a  fashion  plate. 
Figure  79. — 1809 — Mourning  dress  of  mother  and  child,  of  black  cashmere 

with  scarf  drapery  of  crepe ;  child's  cap  of  white  mull  with  black 

ribbon.    From  a  fashion  plate. 
Figure  80. — 1820 — Mourning  ball  dress  of  black  grosgrain  silk,  trimmed 

with  crepe  arranged  in  a  shell  pattern.    From  a  fashion  plate. 
Figure  81. — 1812 — Kutusoff  costume  of  pink  broadcloth  with  hat  and 

mantle  of  the  same.    From  a  fashion  plate. 


HlSTOEIC  DEESS  IN  AMEEICA 


121 


In  a  delightful  letter  quoted  in  this  book  there  is  a  note  on 
costume  during  the  escape  from  the  burning  city.  "  On  leav- 
ing the  city,"  says  the  writer,  "  I  wore  a  bonnet  that  was  con- 
sidered just  the  style  for  a  young  lady  of  fifteen  beginning  to 
think  her  personal  adornment  of  some  importance ;  it  was  of 
white  satin  gayly  trimmed  with  pink  ;  also  as  was  the  fashion  a 
large  shell  comb." 

During  the  hundred  days  following  Napoleon's  dramatic  re- 
turn from  Elba,  political  feelings  were  outwardly  demonstrated 
in  dress.  Violets,  the  Emperor's  favourite  flower,  became  the 
badge  of  his  adherents.  After  the  twentieth  of  May,  1815,  no 
"  Imperialist  lady  "  appeared  in  public  without  a  large  bunch 
of  these  flowers  on  her  breast,  while  "  Royalist  ladies "  wore 
white  jaconet  gowns  with  eighteen  tucks  in  their  skirts  in 
honour  of  Louis  XVIII. 

Many  varieties  of  Cornettes  and  Mob  caps  were  worn.  For 
morning  dresses  they  were  made  of  violet  cambric  trimmed  with 
figured  satin  ribbon  ;  for  more  dressy  occasions,  fine  spotted  India 
muslin  was  used,  trimmed  with  lace  and  rose-coloured  ribbon. 

An  unusually  attractive  riding  habit  appeared  in  an  Eng- 
lish fashion  plate  of  1815.  It  was  the  invention  of  the  famous 
Mrs.  Bell  who  had  the  happy  faculty  of  adjusting  the  extrava- 
gant fancies  of  the  Parisian  modistes  to  suit  English  taste.  A 
copy  of  the  original  print  is  given  in  Figure  112.  This  habit 
was  made  of  "  finest  pelisse  cloth,  the  body  cut  in  a  novel  style, 
with  front  and  cuffs  tastefully  embroidered.  A  lace  ruff  was 
worn  around  the  neck.  The  hat  was  of  moss  silk  and  orna- 
mented with  feathers  to  correspond."  In  the  words  of  the 
fashion  editor  of  "  La  Belle  Assemblee  "  :  "  The  tout  ensemble  of 
this  dress  is  striking  and  tasteful  beyond  what  our  descriptive 
powers  can  portray,  and  we  have  no  doubt  that  its  striking 
utility  as  well  as  elegance  will  very  soon  render  it  a  general 


\±2 


HISTORIC  DRESS  IX  AMERICA 


favourite  ;  at  present  it  is  adopted  by  some  of  the  most  distin- 
guished fashionables  of  the  haut  ton.7' 

In  1816  the  new  creations  of  fashion  were  named  in  honour 
of  the  Princess  Charlotte,  and  her  marriage  to  Prince  Leopold 
of  Saxe-Coburg ;  we  hear  of  the  "  Coburg  walking  dress,"  a 
round  dress  of  fine  cambric  under  a  pelisse  of  amber  shot  sars- 
net,  trimmed  with  blue  satin  ribband.  "  Oatlands  "  hat  to  cor- 
respond with  the  pelisse,  tied  with  a  chequered  ribband  of  blue 
or  white,  and  surmounted  with  a  bunch  of  tuberoses  or  passion 
flowers.  Morocco  shoes  or  half-boots  of  light  blue  the  colour  of 
the  pelisse  trimming.  Limerick  gloves,  and  the  hair  dressed 
forward  in  curls.  The  hat  gets  its  name  from  the  country  seat 
of  the  Duke  of  York  where  the  Princess  spent  her  honeymoon. 

Feathers  striped  in  two  colours  and  called  "  Zebra  feathers  " 
were  a  novelty  in  1816,  and  a  straw  hat  or  bonnet  lined  with 
lilac  silk  and  trimmed  with  a  Zebra  plume  of  lilac  and  white 
was  a  favourite  combination.  The  ''Sempstress  cap"  was  of 
muslin,  "  the  crown  drawn  in  with  two  rows  of  narrow  pink 
ribband  next  the  head  piece,  and  bound  round  with  a  pink  bro- 
caded satin  band."  An  authority  of  the  day  says :  "  White 
dresses  are  now  becoming  general,  and  several  gowns  have  ap- 
peared made  of  superb  India  muslin  of  exquisite  texture,  with 
half-sleeves,  embroidered  in  colours,  and  the  border  of  the  robe 
ornamented  in  the  same  manner."  The  newest  wraps  were 
comfortable  garments  called  "  Carricks ; "  long  double  capes 
of  cloth  lined  with  silk  and  fastened  down  the  front  with  straps 
which  buttoned  "  like  a  Canadian  hunter's  coat."  They  were 
worn  by  both  men  and  women. 

The  Caledonian  caps  of  black  and  crimson  with  a  profusion  of 
black  feathers,  Neapolitan  head-dresses  made  of  blue  and  white 
striped  gauze  and  trimmed  with  silver  ornaments,  and  theatre 
head-dresses  of  tulle  and  satin  "  with  a  quilling  of  net  next  the 


HISTORIC  DRESS  IN  AMERICA 


face  and  fastening  tastefully  under  the  left  ear  ;  "  Netherland 
bonnets  with  crowns  of  carmine  velvet  and  brims  of  white  satin 
edged  with  the  velvet  and  finished  with  white  plumes,  are  men- 
tioned in  "  La  Belle  Assembled  "  for  the  winter  of  1816.  The 
new  colours  were  "  Carmine,  Burgundy,  Nicolas  blue,  and 
American  or  Forrester's  green." 

Among  the  novelties  we  notice  :  Mrs.  Bell's  "  new  invented 
long  corsets  :  ladies  inclined  to  too  much  embonpoint  will  derive 
singular  advantage  from  them  :  they  are  equally  free  from  hard 
substances  as  the  short  ones,  which  for  more  slender  ladies  have 
given  such  universal  satisfaction." 

In  1817  a  contemporary  fashion  book  describes  a  new  and 
very  expensive  wrap,  the  "  Witzchoura."  The  name  suggests  a 
Russian  or  Polish  origin.  It  was  lined  throughout  with  fur 
and  finished  with  a  high  standing  collar,  to  which  sometimes 
a  pelerine  was  added,  both  of  fur. 

In  the  entertaining  memoirs  of  the  Comtesse  de  Boigne  the 
changes  in  customs  of  dress  are  amusingly  described.  "  Among 
other  changes,  or  among  changes  which  I  had  forgotten  during 
my  absence,  was  the  style  of  ladies'  dress  in  the  country.  I 
learnt  this  change  to  my  cost.  I  had  been  somewhat  intimate 
with  Lady  Liverpool  in  the  days  of  our  youth.  She  invited  me 
to  go  to  dinner  some  miles  out  of  London  where  Lord  Liverpool 
had  a  house.  She  asked  me  to  come  in  good  time,  that  she 
might  show  me  her  garden  and  spend  a  pleasant  day  in  the 
country.  I  arranged  to  go  with  my  father,  but  he  was  detained 
by  business,  and  we  did  not  arrive  until  half-past  five.  Lady 
Liverpool  scolded  us  for  our  late  arrival,  and  then  took  us 
round  her  garden,,  her  greenhouses,  her  kitchen  garden,  her 
farmyard,  her  fowl-house,  her  pig-sty,  all  of  which  were  in 
somewhat  poor  repair. 

"Lord  Liverpool  arrived  from  London;  we  left  him  with 


124 


HISTORIC  DRESS  IN  AMERICA 


my  father  and  went  back  towards  the  house.  I  remember  that 
I  was  wearing  a  long  coat  of  Tours  silk,  flounced  all  round  ;  I  had 
a  white  straw  hat  with  flowers,  and  thought  myself  veiy  beau- 
tiful. When  I  came  into  the  house  Lady  Liverpool  said  to  me : 
"  '  Will  you  come  into  my  room  to  take  off  your  coat  and 
hat?  Have  you  brought  a  maid,  or  would  you  like  to  have 
mine  ?  ' 

"  I  answered  with  some  embarrassment  that  I  had  made  no 
arrangements  for  changing  my  dress. 

"  1  Oh,  it  does  not  matter  in  the  least,'  she  replied.  '  Here  is 
a  book  to  look  at  while  I  am  dressing.' 

"  I  had  hardly  been  alone  for  one  moment  when  I  heard  a 
carriage  arrive,  and  Lady  Mulgrave  soon  entered,  in  a  satin 
dress  with  jewels  and  flowers  in  her  hair.  Then  Miss  Jenkin- 
son,  a  niece  of  the  family,  appeared  in  a  white  dress  with  white 
shoes  and  a  garland  of  flowers.  Then  came  Lady  Liverpool 
herself:  I  forget  how  she  was  dressed,  but  she  was  wearing  on 
her  head  a  veil  held  back  with  a  golden  diadem  encrusted  with 
precious  stones.  I  hardly  knew  where  to  hide  my  head.  I 
thought  that  a  magnificent  diplomatic  dinner  was  on  foot,  and 
that  we  were  about  to  see  the  arrival  of  all  the  fashionable 
people  in  London. 

"  We  sat  down  to  dinner,  eight  in  number,  and  of  these  five 
were  members  of  the  household.  No  other  guests  were  ex- 
pected. The  custom,  however,  is  to  dress  for  a  quiet  dinner  in 
the  country  as  for  a  great  public  reception.  Henceforward  I 
have  never  set  out  for  a  pleasant  day  in  the  country  earlier 
than  half-past  seven,  and  never  in  morning  dress. 

"  While  I  am  on  the  subject  of  dress  I  must  speak  of  that  in 
which  I  appeared  at  court.  Possibly  in  twenty  years  it  will  be 
as  ordinary  as  it  seemed  extraordinary  to  me  when  I  wore  it. 
Let  us  begin  with  the  head. 


HISTORIC  DRESS  IN  AMERICA 


125 


"  My  head-dress  was  surmounted  by  the  obligatory  plume. 
With  great  trouble  I  had  induced  the  fashionable  plumier,  Car- 
berry,  to  make  it  only  of  seven  enormous  feathers,  the  smallest 
number  allowed.  Plumes  of  moderate  size  were  composed  of 
twelve  or  fifteen  feathers,  and  in  some  cases  of  as  many  as 
twenty-five.  Beneath  the  plume  I  wore  a  garland  of  white 
roses  resting  upon  a  circlet  of  pearls.  The  finishing  touches 
were  given  by  diamond  buckles,  a  diamond  comb,  and  tassels  of 
white  silk.  This  mixture  of  jewels,  flowers,  and  feathers  was 
highly  repugnant  to  our  taste,  which  had  remained  classical 
from  the  time  of  the  Greek  costumes. 

"  That,  however,  was  a  trifle.  The  body  of  my  dress  was 
arranged  much  as  usual.  When  the  bodice  was  put  on,  an 
enormous  hooped  skirt,  three  ells  long,  was  laced  to  my  waist. 
The  skirt  was  made  of  waxed  calico  stretched  upon  whalebone, 
which  made  it  very  wide  in  front  and  behind,  and  very  narrow 
at  the  sides.  Over  the  satin  skirt  was  placed  a  second  skirt 
of  tulle,  ornamented  with  a  large  furbelow  of  silver  lace.  A 
third  and  shorter  skirt,  also  of  tulle  with  silver  spangles,  orna- 
mented with  a  garland  of  flowers,  was  turned  up  as  a  drapery 
so  that  the  garland  surmounted  the  skirt  crosswise.  The  open- 
ings of  the  tucks  were  ornamented  with  silver  lace  and  sur- 
mounted with  a  large  bouquet  of  flowers.  I  carried  another 
bouquet  in  front  of  me,  so  that  I  seemed  to  be  emerging  from  a 
basket  of  flowers.  I  also  wore  all  the  jewels  for  which  room 
could  be  found  upon  my  person.  The  bottom  of  my  white  satin 
dress  with  its  silver  embroidery  was  turned  up  in  loops,  and 
did  not  reach  the  bottom  of  the  skirt,  such  being  the  fashion- 
able etiquette.  The  Queen  alone  wore  a  train,  while  the  skirts 
of  the  princesses  were  not  turned  up,  but  hardly  touched  the 
ground. 

"  When  I  had  seen  the  immense  preparations  for  this  toilet, 


126 


HISTOEIC  DRESS  IN  AMERICA 


I  was  doubtful  whether  to  laugh  at  their  absurdity,  which 
seemed  entirely  comical,  or  to  be  vexed  by  the  necessity  of 
dressing  in  such  ridiculous  style.  I  must  admit  that  when  the 
process  was  complete  I  was  well  pleased,  and  thought  that  the 
costume  suited  me  "  *  (See  Figure  78). 

Shoes  lined  with  fur  were  introduced  into  England  about  this 
time,  1816.  They  were  cut  high  and  were  finished  with  three 
bows  of  ribbon  on  the  instep  one  above  the  other.  They 
sound  very  comfortable  for  a  cold  winter,  and  were  very  pic- 
turesque when  made  of  velvet  either  black,  dark  green,  or 
mazarin  blue. 

Figured  sarsnet  of  a  white  ground,  with  small  sprigs  of 
colour  came  into  fashion  at  this  time,  also  striped  gauzes  for 
ball-gowns. 

A  spring  costume  for  1817  is  thus  described.  "  Round 
dress  of  fine  cambric,  under  a  pelisse  of  emerald-green  rep 
sarsnet,  ornamented  with  flutings  of  green  and  white  satin, 
elegantly  finished  by  British  silk  trimming ;  the  waist  girt  by  a 
rich  silk  cordon  of  the  same  manufacture  with  full  tassels. 
Spring  bonnet  of  green  curled  silk,  the  crown  and  ornaments  of 
white  satin  and  emerald-green,  to  correspond  with  the  pelisse. 
Green  satin  half-boots  and  Limerick  gloves.  Berlin  ridicule  of 
green  and  white  satin." 

The  very  elaborate  mourning  of  that  period  is  illustrated  in 
Figure  42.  It  consisted  of  a  "  round  dress  of  fine  black 
bombazeen,  the  trimming  of  crimped  crape,  formed  into  small 
roses.  .  .  .  Over  this  dress  is  worn  a  new  and  elegant 
wrapping  cloak,  made  of  grey  mole  skin  or  fine  Bath  coating  ;  it 
descends  to  the  feet  and  is  wide  enough  to  protect  the  wearer 
from  the  inclemency  of  the  weather ;  it  is  cut  out  on  the 
shoulders  to  fit  the  shape  with  large  military  cape  and  hood, 

*  Memoirs  of  the  Comtesse  de  Boigne,  1815-1819,  Vol.  II. 


HISTORIC  DRESS  IN  AMERICA 


127 


which  folds,  being  made  like  the  ladies'  chapeau  bras,  lined  and 
bound  with  black  sarsnet.  Shade  bonnet  of  fine  black  cane, 
embroidered  with  chenille  and  velvet  flowers  round  the  front ; 
the  crown,  of  black  satin  very  full,  and  high  in  the  back,  is 
made  of  cane  and  chenille  like  the  front.  The  crown  is  sur- 
rounded with  a  wreath  of  crape  and  satin  flowers,  and  tied 
under  the  chin  with  a  broad  satin  ribband.  Beaver  gloves  and 
shoes." 

An  extract  from  the  "  Memoranda  of  a  Residence  at  the 
Court  of  London  "  describes  the  Drawing-room  held  in  celebra- 
tion of  Queen  Charlotte's  sixty-seventh  birthday,  and  the  Court 
costumes  with  the  prescribed  court  hoops  as  they  impressed  the 
Envoy  Extraordinary  and  Minister  Plenipotentiary  from  the 
United  States  in  1818  :  * 

"  February  27.  Yesterday  Her  Majesty  held  a  Drawing- 
room.  It  was  in  celebration  of  her  birthday.  My  wife  was 
presented  to  her,  by  Lady  Castlereagh.  Besides  being  a  birth- 
day celebration,  it  was  the  first  drawing-room  of  the  season  and 
the  first  since  the  death  of  the  Princess  Charlotte. 

"  Foreigners  agreed  that  the  united  capitals  of  Europe  could 
not  match  the  sight.  The  glitter  of  the  carriages  was 
heightened  by  the  appearance  of  the  numerous  servants  in  glow- 
ing livery,  there  being  generally  two  and  often  three  footmen 
behind  each  carriage.  The  horses  were  all  in  the  highest  con- 
dition, and,  under  heavy  emblazoned  harness,  seemed  like  war 
horses  to  move  proudly.  Trumpets  were  sounding  and  the 
Park  and  Tower  guns  firing.  There  were  ranks  of  cavalry  in 
scarlet,  with  their  bright  helmets  and  jet  black  horses,  the 
same,  we  were  informed,  men  and  horses,  that  had  been  at 
Waterloo.  Their  appearance  was  in  a  high  degree  martial  and 
splendid.    The  hands  of  the  men  grasped  their  swords  in 

*  Richard  Rush,  Minister,  1817-1825. 


1830-1835 

Figure  82. — 1830 — Sleeve  cushion  worn  with  leg-of-mutton  sleeves  from 
1830  to  1835. 

Figure  83. — 1835 — Artificial  curls  fastened  to  a  comb. 

Figure  84. — 1830 — Spencer  with  embroidered  collar. 

Figure  85. — 1830 — Bead  purse,  a  fashion  in  vogue  for  many  years. 

Figure  86. — 1830 — Dress  of  brown  taffeta,  worn  in  Philadelphia.  Head 

from  a  contemporary  portrait. 
Figure  87. — 1835 — Dress  of  sage-green  brocade,  worn  by  Miss  Halderman. 

Bonnet  from  a  plate  of  the  day. 
Figure  88.— 1833— Beticule  of  figured  velvet. 

Figure  89. — 1830 — Apron  of  buff  satin  embroidered  with  coloured  flowers 

in  chenille  and  crepe. 
Figure  90. — 1835 — Black  lace  cape.    From  a  plate. 
Figure  91. — 1834 — Mouchoir  case.    From  a  plate. 
Figure  92. — 1833 — Lace  scarf  drawn  through  a  ring.    From  a  plate. 
Figure  93. — 1830 — Belt  buckle  of  pearl  inlaid  with  gold. 
Figure  94. — 1834— Shoulder  cape  of  embroidered  muslin.    From  a  plate. 


HISTORIC  DRESS  IN  AMERICA 


131 


gloves  of  white  buckskin,  the  cuffs  stiffened  and  reaching  half 
way  to  the  elbow,  a  prominent  part  of  the  equipment  that  made 
up  the  exact  uniformity  and  military  beauty  of  the  whole 
array. 

"  We  were  soon  set  down  and  entered  the  great  hall  (Buck- 
ingham Palace).  We  were  not  out  of  time  for  by  appointment 
our  carriage  reached  the  palace  with  Lord  Castlereagh's  ;  but 
whilst  hundreds  were  still  arriving  hundreds  were  endeavour- 
ing to  come  away.  The  staircase  branched  off  at  the  first 
landing  into  two  arms  and  was  wide  enough  to  admit  a  parti- 
tion which  had  been  let  in.  The  company  ascending  took  one 
channel  those  descending  the  other  and  both  channels  were  full. 
The  openings  through  the  old  carved  balusters  brought  all 
under  view  at  once. 

"  The  hoop  dresses  of  the  ladies,  their  plumes,  their  tippets, 
the  fanciful  attitudes  which  the  hoops  occasioned  ;  the  various 
costumes  of  the  gentlemen,  as  they  stood  pinioning  their  elbows, 
and  holding  in  their  swords  ;  the  common  hilarity  created  by 
the  common  dilemma ;  the  bland  recognitions  passing  between 
those  above  and  those  below,  made  up  altogether  an  exhibition 
so  picturesque,  that  a  painter  might  give  it  as  illustrative  of  the 
English  Court  of  that  era. 

"  The  party  to  which  I  was  attached  reached  the  summit  of 
the  staircase  in  about  three-quarters  of  an  hour.  Four  rooms 
were  allotted  to  the  ceremony.  In  the  second  was  the  Queen. 
She  sat  on  a  velvet  chair  and  cushion  a  little  raised  up.  Near 
her  were  the  Princesses  and  Ladies-in-waiting.  The  doors  of 
the  rooms  were  all  open.  You  saw  in  them  a  thousand  ladies 
richly  dressed.  All  the  colours  of  nature  were  heightening 
their  rays  under  the  fairy  designs  of  art. 

"  It  was  the  first  occasion  of  laying  hy  mourning  for  the 
Princess  Charlotte  and  it  was  like  the  bursting  out  of  spring. 


132 


HISTOEIC  DRESS  IN  AMERICA 


No  lady  was  without  her  plume.  The  room  was  a  waving  field 
of  feathers.  Some  were  blue  like  the  sky,  some  tinged  with 
red,  here  you  saw  violet  and  yellow,  there  shades  of  green,  but 
the  most  were  of  pure  white  like  a  tuft  of  snow.  The  diamonds 
encircling  them  caught  the  sun  through  the  windows,  and 
threw  dazzling  beams  around.  Then,  the  hoops  !  these  I  cannot 
describe,  they  should  be  seen.  To  see  one  is  nothing,  but  to  see 
a  thousand,  and  a  thousand  wearers,  on  such  a  day  !  Each 
lady  seemed  to  rise  out  of  a  gilded  little  barricade  or  one  of 
silvery  texture.  This  topped  by  the  plume,  and  the  '  face 
divine  '  interposing,  gave  to  the  whole  an  effect  so  unique,  so 
fraught  with  feminine  grace  and  grandeur,  that  it  seemed  as  if 
a  curtain  had  risen  to  show  a  pageant  in  another  sphere.  It 
was  brilliant  and  gorgeous.  The  ceremonies  of  the  day  being 
ended  as  far  as  myself  and  suite  were  concerned,  we  sought  the 
corridor  to  come  away.  Will  it  be  believed  that  the  channels 
were  as  full  as  ever  of  hoops  and  plumes.  Positively,  it  came 
over  the  eyes  like  beautiful  architecture,  the  hoops  the  base,  the 
plume  the  pinnacle.  The  parts  of  this  dress  may  have  been  in- 
congruous, but  the  whole  was  harmony." 

This  extraordinary  fashion  of  wearing  enormous  hoops  with 
Court  dresses  is  illustrated  in  all  the  fashion  books  from  1800 
to  1820  and,  in  spite  of  the  eloquent  eulogy  pronounced  by  Mr. 
Rush,  strikes  us  as  both  hideous  and  grotesque,  but  as  a  matter 
of  history  it  is  not  without  interest.  A  specimen  of  a  Court 
hoop  for  1818  is  given  in  Figure  78. 

The  advance  of  manufactures  in  England  called  forth  the 
eloquence  of  a  contemporary  periodical :  "  Fashion,  that  motle}^ 
divinity,  now  again  is  seen  welcoming  the  approach  of  spring, 
and  from  the  looms  of  the  British  manufacturers  are  dispersed 
at  her  command,  silks,  ribbands,  and  gauzes,  all  of  so  rich,  so 
exquisite  a  texture  and  of  such  various  and  tasteful  patterns, 


HISTORIC  DRESS  IN  AMERICA 


133 


that  we  may  now  dispute  the  palm  of  excellence  and  novelty 
Avith  every  other  polished  nation  on  this  habitable  globe." 

With  both  head-dresses  and  turbans  false  curls  were  worn. 
We  read  in  a  letter  of  1818,  from  Washington  :  "  After  break- 
fast I  went  forth  on  a  shopping  expedition  and  procured  most 
of  the  winter  clothing  for  the  family,  self  included.  One 
thing  I  could  not  get — Curls,  French  curls,  parted  on  the  fore- 
head, you  know  how.  You  must  get  them  for  me  either  in 
New  York  or  Philadelphia.    Now  remember  Curls!"* 

"  La  Belle  Assemblee  "  says  :  "  Amongst  the  novelties  in 
head-dresses  are  the  Caroline,  or  Como  turban,  of  pale  blue  crape, 
ornamented  with  white  beads  ;  and  the  turban  a  Uantique,  more 
costly  than  becoming,  of  very  fine  white  net,  superbly 
ornamented  with  gold,  with  a  gold  tassel.  Flowers  in  half 
dress  are  but  little  worn,  and  gold  and  silver  ornaments  are 
more  popular  at  present  in  full  dress  than  plumes  of  feathers, 
which  are  better  suited  to  the  hussar  cap.  In  jewellery,  pearls, 
rubies,  and  coloured  gems,  the  initials  of  which  form  devices  or 
sentimental  words,  are  now  in  high  favour ;  and  curiously 
wrought  gold  ornaments  are  very  much  in  demand  by  the 
British  fashionables.  The  favourite  colours  are  peach-down, 
emerald-green,  Palmetto  green,  pale  tea-leaf,  Spanish  brown, 
scarlet  and  celestial  blue." 

Many  specimens  of  the  acrostic  or  anagram  jewelry  have 
been  preserved,  coming  into  fashion,  as  we  learn,  from  the 
authority  given  above  in  1817  ;  they  were  worn  in  a  variety  of 
devices  until  1830.  An  interesting  "  Regard  Ring "  Avorn  in 
Baltimore  in  the  twenties,  consists  of  a  small  hoop  of  gold  into 
Avhich  is  set  a  ruby,  an  emerald,  a  garnet,  an  amethyst,  a  ruby 
and  a  diamond.  This  ring  Avas  owned  by  Miss  Amanda  Nace, 
afterwards  Mrs.  Forney. 

*  First  Forty  Years  of  Washington  Society. 


134: 


HISTORIC  DEESS  IN  AMERICA 


In  a  popular  magazine  of  1819  we  read:  "  The  acrostic  rage 
prevails  in  jewellery.  A  ring  is  given  with  the  following  ex- 
pression, faime  (I  love).  It  is  accordingly  formed  of  a  jacinth, 
an  amethyst,  a  ruby,  and  an  emerald.  Such  gems  form  all  the 
rings  of  the  present  day."  Also,  "  A  curious  romantic  fashion 
is  adopted  by  some  young  ladies  in  the  ornamenting  of  their 
hats  ;  it  is  aiming  at  the  sentimental,  but  I  call  it  acrostical. 
Suppose,  for  instance,  the  lady  wearing  the  hat  is  named 
Maria  ;  she  accordingly  sports  a  marshmallows  blossom,  an 
anemone,  a  rose,  an  iris  and  an  asphodel,  or  evening  lily  :  this 
forms  a  mixture  of  colours,  and  even  of  flowers  not  always  in 
season  together." 

A  Paris  gossip  describes  the  short  sleeves  in  vogue  with  all 
costumes  :  (1819)  "  Let  Paris  be  full  or  empty,  scorching  under 
summer's  sun,  or  freezing  under  winter's  snows,  the  changes 
among  the  hats  still  continue  to  undergo  their  usual  motley 
round.  I  cannot  say  the  same  of  our  other  outdoor  covering ; 
high  dresses,  with  only  a  sautoir,  or  half  handkerchief  are  still 
the  prevailing  mode,  and  these  are  of  Cachemire  silk,  black 
lace,  or  embroidered  muslin  ;  this  fashion  seems  likely  to  con- 
tinue till  the  shivering  fair  one  shall  be  obliged  to  resort  to  the 
more  appropriate  spencer  and  comfortable  pelisse.  It  is  true 
that  pelerines  buttoned  before  and  trimmed  round  with  muslin 
or  ribbons  in  cockleshells,  are  worn  by  many  ladies ;  the 
pelerines  are  made  of  muslin  richly  embroidered,  and  whether 
the  gown  is  plain,  striped,  or  spotted,  the  sleeves  are  worked  in 
a  pattern  to  correspond  with  that  of  the  pelerine ;  but  why  are 
these  pelerines  adopted  ?  Because  a  lady  cannot  have  a  dress 
made  high  that  has  short  sleeves  and  never  were  short  sleeves 
so  much  in  favour.  Nothing  is  to  be  seen  but  naked  arms  and 
as  the  gowns  fall  off  the  shoulders,  the  bust  would  be  entirely 
exposed  if  ladies  walked  out  without  a  pelerine  :  let  me,  how- 


HISTORIC  DRESS  IN  AMERICA 


135 


ever,  tell  you,  as  a  warning  to  your  fair  countrywomen,  that 
never  before  in  Paris  were  pulmonary  and  nervous  complaints 
so  frequent.  This  fashion  originated  in  the  reign  of  Louis  XIV 
as  may  be  seen  by  the  portraits  of  Ninon  de  l'Enclos,  the 
Duchesse  de  Fontanges,  and  that  of  Madame  de  Sevigne ;  whose 
cousin,  Bussy  Rabutin,  used  to  say  it  was  only  on  account  of 
her  arm  being  beautiful  that  she  displayed  it.  I  sincerely 
hope,  however,  that  next  winter  will  bring  along  with  its 
rigour,  that  modesty  which  can  alone  render  a  female  desirable  ; 
and  that  as  soon  as  ices  and  melons  cease  to  be  eaten,  short 
sleeves  will  cease  to  be  worn." 

This  fashion  introduced  many  dainty  styles  of  pelerines  or 
shoulder  capes.  The  most  popular  were  made  of  muslin  richly 
embroidered  by  hand,  others  were  trimmed  with  rows  of  lace 
insertion  and  edged  with  lace. 

Long  sashes  tied  in  the  back  were  all  the  rage  in  Paris  in 
1819.  According  to  a  local  authority  :  "  At  the  Tuilleries  we 
see  nothing  but  sashes,  and  they  are  generally  of  Scotch  plaid  ; 
young,  old,  handsome,  ugly,  straight,  crooked,  hump-backed, 
tall,  short,  squint-eyed,  one-eyed,  black-eyed,  grey-eyed,  flaxen- 
headed,  every  one  had  a  sash  tied  in  a  bow  behind,  with  long 
ends  hanging  to  her  heels,  or  streaming  on  the  wind.  These 
ribbons  are  like  the  aiguillettes  of  the  gens  oVarmes,  permanent 
signals  for  the  fate  of  captives.  Your  countrywomen  have  in- 
troduced the  opera  cloaks  of  gre}^  coating,  lined  with  coloured 
sarsnet ;  and  every  French  lady  has  followed  this  useful  fashion, 
and  folds  herself  in  one  while  she  waits  in  the  vestibule  of  the 
theatre  for  her  carriage.  We  give  credit  to  Mistress  Bell  for  the 
invention  of  a  silk  mantilla  of  this  kind  with  its  chapeau  bras 
hood  ;  it  is  truly  elegant,  as  well  as  tres  commode  (we  have  really 
no  word  to  express  what  you  call  comfortable)  and  has  been 
worn  by  a  lady  of  high  distinction,  here." 


136 


HISTOEIC  DRESS  IN  AMERICA 


Bonnets  had  for  many  years  been  worn  by  young  and  old, 
but  the  plates  of  1819  show  a  revival  in  favour  of  hats,  and  we 
read :  "  Hats  have  a  decided  preference  over  bonnets ;  and 
one  of  the  former  of  Carmelite-coloured  cloth  lined  with  jonquil 
coloured  sarsnet,  has  been  much  admired  ;  this  is  of  the  eques- 
trian shape  :  London  smoke  is  also  a  favourite  colour  for  this 
kind  of  hat.  Black  beaver  hats  are  sported  by  many  ladies  of 
fashion  ;  and  a  purple  bonnet  trimmed  with  gauze  spotted  with 
velvet  of  the  same  colour  as  the  bonnet,  is  much  in  requisition. 
The  beaver  hats  I  mentioned  above,  are  ornamented  with  a 
broad  band,  with  a  metal  buckle  on  one  side.  Some  have  three 
narrower  bands,  placed  at  equal  distances,  with  small  buckles. 
Coloured  velvet  hats  have  generally  a  band  of  very  broad  rib- 
bon, made  in  the  form  of  cockleshells." 

From  a  popular  English  periodical  we  glean  the  following, 
under  the  date  of  December,  1819:  "Grey  hats  too,  lined  with 
rose-colour,  and  ornamented  with  a  plume  of  six  or  eight 
feathers,  half  of  them  grey  and  the  other  three  or  four  rose- 
colour,  is  another  favourite  head-dress  for  the  carriage. 

"  The  waists  of  gowns  still  continue  long,  and  are  made  low 
in  the  back  ;  the  skirts  are  plaited  very  full  behind,  but  without 
any  plaits  at  the  hips.  Merino  dresses  are  made  with  a  pelerine 
of  the  same  ;  but  instead  of  flounces  they  are  bordered  with  vel- 
vet, of  a  colour  to  suit  the  dress.  Worsted  fringe  trimming  for 
dresses  has  in  it  a  mixture  of  silk,  and  is  headed  with  plaited 
satin,  forming  a  rich  rouleau  ;  sometimes  three  or  four  rouleaux 
surmount  the  fringe  ;  this  trimming  is  very  beautiful." 

We  read  of  a  new  and  beautiful  manufacture  of  brocaded 
gauze  fashionable  for  evening  dresses  for  young  people,  and  are 
glad  to  be  able  to  give  a  picture  of  a  dress  of  this  pretty  fabric, 
that  was  worn  by  Miss  Elizabeth  Smith,  in  Philadelphia,  in 
1819  (Figure  61). 


HISTORIC  DRESS  IN  AMERICA 


137 


About  this  time  the  fashionable  dance  in  Europe  and 
America  was  the  Waltz,  first  introduced  in  Germany.  It  at- 
tracted almost  immediately  the  popularity  which  it  has  en- 
joyed ever  since.  It  was  not,  however,  as  interesting  to  watch 
as  the  old  time  Minuet  with  its  stately  bows  and  courtesies,  nor 
the  Quadrille  of  the  beginning  of  the  nineteenth  century,  with 
its  intricate  figures.  An  onlooker  expressed  his  feelings  on  the 
subject  in  the  following  verses  which  were  printed  in  a  Phila- 
delphia magazine  of  1819  : 


"  The  Waltz 
'  In  patent  Kaleidoscopes  all  may  discern 
A  novel  attraction  at  every  turn  ; 
And  every  movement  presents  to  the  sight 
A  figure  more  perfect,  a  colour  more  bright ; 
But  waltzing,  though  charming  to  those  who  can  do  it, 
Is  rather  fatiguing  to  people  who  view  it  : 
For  though  turns  are  incessant,  no  changes  you  meet, 
But  giddiness,  bustle,  embracing  and  heat. 

'  At  first  they  move  slowly,  with  caution  and  grace, 
Like  horses  when  just  setting  out  for  a  race  ; 
For  dancers  at  balls,  just  like  horses  at  races, 
Must  amble  a  little  to  show  off  their  paces. 
The  music  plays  faster,  their  raptures  begin, 
Like  lambkins  they  skip,  like  tetotums  they  spin  : 
Now  draperies  whirl,  and  now  petticoats  fly, 
And  ankles  at  least  are  exposed  to  the  eye. 

1  O'er  the  chalk-cover' d  ballroom  in  circles  they  swim ; 
He  smiles  upon  her,  and  she  smiles  upon  him, 
Her  arm  on  his  shoulder  is  tenderly  placed, 
His  hand  quite  as  tenderly  circles  her  waist ; 
They  still  bear  in  mind,  as  they're  turning  each  other, 
The  proverb — '  one  good  turn's  deserving  another'  ; 
And  these  bodily  turns  often  end,  it  is  said, 
In  turning  the  lady's  or  gentleman's  head." 

—  Q.  in  a  Corner. 


1812-1828 

Figure  95. — 1813 — A  gentleman  in  a  fashionable  walking  costume  of  plum- 
coloured  cloth,  drab  trousers  and  white  waistcoat.  From  a  contem- 
porary print. 

Figure  96. — 1814 — Back  view  of  an  outdoor  costume.  The  wadded  pelisse 
of  golden  brown  satin  with  a  high  rolling  collar  is  copied  from  an 
original  garment  worn  in  Philadelphia.  The  hat  is  from  a  contem- 
porary print. 

Figure  97. — 1815 — "White  satin  afternoon  dress  with  high  waist  and  long 
sleeves  falling  over  the  hands.  From  an  original  garment  worn  in 
Philadelphia  about  1815.  The  Vandyke  ruff  and  embroidered  muslin 
collarette  are  copied  from  plates  of  that  date.  Head  from  a  contem- 
porary miniature. 

Figure  98. — 1814— Front  view  of  the  pelisse  in  Figure  96.  It  is  fastened 
with  small  gilt  catches  with  snap  springs,  such  as  are  used  for  neck- 
laces, showiug  the  collar  turned  down.  Buff  and  English  walking-hat 
of  brown  velvet  are  taken  from  a  plate  of  1814. 

Figure  99. — 1816 — Evening  dress  of  a  gentleman  of  this  date,  taken  from  a 
contemporary  print.  Dark  blue  coat  and  white  kerseymere  trousers 
and  waistcoat.    White  silk  stockings  and  black  slippers. 

Figure  100. — 1828 — Dress  of  very  rich  corded  silk  with  brocaded  flowers 
arranged  in  stripes,  made  with  a  full  skirt  and  plaited  bodice,  with  a 
broad  belt  of  the  silk.  Copied  from  an  original  gown  worn  by  Miss 
Mary  Brinton  in  Philadelphia  about  1828. 

Figure  101. — 1820 — A  walking  suit.  Loug-tailed  coat  of  green  broadcloth 
with  silver  buttons  and  black  velvet  collar.  Long  pantaloons  of  white 
kerseymere.  Stock  of  white  satin  and  hat  of  rough  beaver.  From  a 
contemporary  print. 

Figure  102. — 1823 — Brown  cloth  pelisse  trimmed  with  bias  folds  of  cloth. 
Velvet  bonnet  to  match  with  bows  of  taffeta  and  a  group  of  brown 
feathers  on  the  crown.  Brim  faced  with  pink  taffeta.  A  double  ruffle 
of  white  lawn  is  worn  around  the  throat  and  an  enormous  muff  of  bear- 
skin completes  the  costume,  which  is  taken  from  a  plate  of  this  year. 

Figure  103. — 1S24 — White  satin  wedding  gown  made  with  a  deep  trimming 
of  white  gauze  held  in  place  by  bows  of  gauze  bound  with  white  satin. 
Three  rouleaux  of  white  satin  edge  the  bottom  of  the  skirt  and  the  low- 
cut  neck  of  the  bodice.  The  sleeves  are  made  of  a  full  puff  of  the  gauze 
caught  down  with  satin  pipings  finished  with  a  tassel  of  sewing  silk. 
This  charming  costume  was  worn  by  a  Virginia  bride,  Miss  Colquhoun 
of  Petersburg,  in  3824.  The  head  is  copied  from  a  portrait  and  the  veil 
from  a  plate  of  that  year. 

Figure  104. — 1820 — Full  dress  of  an  English  gentleman  in  this  year.  Blue 
broadcloth  coat  edged  with  white  satin  and  adorned  with  silver  buttons. 
Knee-breeches  of  brown  satin  and  stockings  of  white  silk.  This  figure 
is  copied  from  a  plate  in  the  "  La  Belle  Assemblee." 


Women's  Dress 

1820-1830 

Fashions  change  with  every  changing  season 
Eegardless  quite  of  money,  rhyme  or  reason." 

ITH  the  year  1820  we  reach  the  third  decade 
of  the  nineteenth  century,  and  note  a  few- 
striking  changes  in  fashion.  The  first 
variation  to  be  commented  upon  is  that 
black  dresses  came  into  favour,  and  two 
new  materials,  plume  velvet  and  levantine 
satin,  were  used  for  evening  dresses.  The 
former,  plume  velvet,  was  distinguished  by 
narrow  satin  stripes,  and  the  latter,  levan- 
tine satin,  was  very  soft  and  rich.  High- 
land tartans  had  been  worn  for  the  last  five  years  off  and  on 
but  became  a  pronounced  fashion  in  1820,  even  for  evening 
dresses.  We  read  of  Caledonian  caps  of  white  satin,  and  of 
Ivanhoe  caps  of  black  tulle  and  geranium  satin,  both  of  these 
head-dresses  being  designed  for  evening  wear,  and  the  latter  of 
course  named  in  honour  of  Scott's  delightful  romance  just  pub- 
lished in  Edinburgh. 

Two  new  ball  dresses  for  young  ladies  are  described  by  Mrs. 
Bell.  "  One  is  of  figured  satin,  a  new  manufacture,  with  the 
figures  woven  into  the  satin  in  such  a  manner  that  they  are 

transparent ;  round  the  border  is  a  beautiful  festoon  of  artificial 

141 


142  HISTORIC  DRESS  IN  AMERICA 

roses  and  their  foliage  in  rich  clusters  ;  they  are  smaller  than 
nature,  but  faithfully  coloured  from  it.  The  other  ball  dress  is 
almost  equally  attractive  on  account  of  its  chaste  simplicity:  it 
is  of  fine  white  net  over  white  satin,  and  is  finished  by  two 
flounces  of  net,  richly  embossed  with  fancy  flowers  and  foliage 
in  white  satin." 

In  the  letters  of  the  Hon.  Stratford  Canning,  English  Min- 
ister to  the  United  States  in  1820,  we  find  mention  of  a  "  revolu- 
tion in  court  dress  "  which  was  being  accomplished  at  that  time. 
He  attended  a  Drawing-room  in  London  just  before  he  started 
for  America,  and  remarked,  "  The  great  event  which  at  present 
occupies  the  public  mind  is  the  abolition  of  hoops,  announced 
in  Tuesday's  '  Gazette  '  preparatory  to  the  Drawing-room  fixed 
for  the  fifteenth  of  next  month  at  Buckingham  House.  I  fear 
we  shall  regret  them  in  spite  of  their  unbecoming  appearance. 
They  have  the  effect  of  leaving  a  little  room  in  the  Drawing- 
room  crowds  so  as  to  prevent  your  being  squeezed  to  death." 
According  to  Mrs.  Bell's  magazine,  a  new  style  of  hoops  was  in- 
troduced for  court  dress  in  England  in  1817.  In  Figure  78  we 
give  the  sketch  of  one  designed  for  the  Drawing-room  of  that 
year,  which  is  undoubtedly  an  improvement  on  court  hoops 
shown  in  the  earlier  numbers  of  "  La  Belle  Assemblee."  Hoops 
are  not  mentioned  in  the  descriptions  of  ball  dresses  of  that 
time.  They  were  evidently  a  court  fashion,  which  lasted  until 
1820,  according  to  the  letter  quoted  above. 

We  read  of  a  pelisse  of  garter  blue  embroidered  in  the  same 
colour  and  lined  with  white  sarsnet,  also  of  black  velvet  pelisses 
worn  with  bonnets  of  black  satin,  and  as  we  see  by  the  follow- 
ing extract  from  "  La  Belle  Assemblee,"  bonnets  were  again  in 
the  ascendency  :  "  A  favourite  bonnet  for  the  promenade  is  of 
lavender  rep  silk,  with  a  double  quilling  of  Italian  net,  edged 
with  narrow  satin  ribband  ;  the  crown  is  formed  of  Italian  net 


HISTORIC  DRESS  IN  AMERICA 


143 


and  ribbon.  On  the  white  lining  underneath  is  a  broad  layer 
of  pink  satin  in  bias.  Another  promenade  bonnet  is  of  fine 
black  leghorn,  trimmed  with  peach-coloured  crape,  and  crowned 
with  a  beautiful  bouquet  of  half-blown  roses,  lilacs  and  field 
flowers  ;  the  trimming  at  the  edge  of  this  bonnet  forms  a  double 
row  of  cockle-shells  cut  in  bias.  A  carriage  bonnet  of  straw 
gauze  is  justly  admired,  the  material  entirely  new ;  it  is 
edged  with  transparent  net,  embossed  with  pink  ornaments, 
and  is  finished  with  a  curtain  of  blond  ;  the  crown  ornamented 
to  correspond  with  the  pattern  of  the  embossed  border,  and 
trimmed  with  a  full  plume  of  white  uncurled  feathers,  inter- 
mixed with  three  that  are  pink.  Another  carriage  bonnet  is 
made  of  fine  net,  spangled  with  straw  in  small  figures,  and  the 
crown  richly  trimmed  with  flowers." 

Turbans  which  had  held  the  popular  fancy  from  the  begin- 
ning of  the  nineteenth  century  were  still  worn  in  every  variety 
of  material,  Chinese  crape  and  Peruvian  gauze  being  favour- 
ites. Many  new  styles  of  head-dress  had  come  and  gone  during 
the  reign  of  the  turban  ;  among  these  was  the  Vevai  cap,  some- 
thing like  a  Tyrolese  cap  in  shape,  but  less  high.  It  seems  to 
have  greatly  pleased  the  fancy  of  Mrs.  Bell,  who  says  of  it 
(1820)  :  "  Nothing  can  be  more  chaste  or  tasteful  than  this  ele- 
gant little  ornament ;  its  plumage  hangs  down  like  the  fantastic 
fretwork  formed  by  frozen  snow  ;  while  here  and  there  seem 
lodged  on  it  a  few  Christmas  berries,  either  of  the  red  or  white 
berried  holly." 

We  notice  at  this  time  frequent  mention  of  flounces  as  trim- 
ming for  ball  dresses,  but  it  soon  became  fashionable  to  trim 
everything  with  flounces.  At  first  there  was  but  little  fullness 
in  them,  for  skirts  were  still  narrow.  In  the  following 
description  we  read  of  fluted  flounces  :  "  Evening  dress  of  black 
crape,  over  a  black  satin  slip  made  with  a  demi-train,  and  orna- 


114 


HISTOEIC  DRESS  IN  AMERICA 


mented  round  the  border  with  three  fluted  flounces  of  crape, 
each  flounce  headed  by  an  embroidered  band  of  small  jet  beads 
and  bugles.  Corsage  a  Louis  Quatorze,  ornamented  with  jet  and 
bugles  to  correspond.  Tucker  of  white  crape  in  folds."  It  was 
the  fashion  at  that  time  to  trim  dancing  frocks  with  artificial 
flowers,  for  instance  :  a  ball  dress  of  tulle  over  white  satin  was 
ornamented  above  the  hem  with  full  blown  roses.  The  hair 
was  adorned  with  silver  ears  of  corn,  red  roses,  and  rows  of 
pearl.  White  satin  sandal  slippers,  white  kid  gloves,  and  carved 
ivory  fan  were  the  appropriate  accessories. 

Spencers  were  still  in  favour,  the  latest  being  made  with  a 
little  jacket  tail,  like  that  of  a  riding  habit,  and  a  sash  the 
colour  of  the  spencer  was  worn  with  it.  Long  mantles  of  grey 
or  violet  sarsnet  were  also  much  worn  ;  they  reached  as  far  as  the 
heels,  and  had  hoods  drawn  with  ribbon  and  stiffened  with 
whalebone,  "  which  latter  improvement,  to  be  candid  with 
you,"  writes  our  authority,  "  is,  I  think,  an  awkward  imitation 
of  Mrs.  Bell's  Chapeau  Bras." 

The  following  chatty  letter  from  Paris  is  dated  September, 
1820: 

"  My  last  letter  contained  lamentations  on  the  continued 
length  of  our  ladies'  waists ;  thanks  to  all  the  powers  of  taste, 
they  begin  to  shorten,  and  I  hope  soon  to  see  them  placed  on 
that  standard  of  beauty,  without  which  there  can  be  no  claim 
to  the  epithet,  when  divested  of  all  proportion,  by  being  too 
long  or  too  ridiculously  short.  A  high  dress,  that  marks  more 
justly  the  contour  of  a  fine  shape,  is  now  a  favourite  outdoor 
costume  ;  and  no  other  ornament  is  worn  with  it,  except  a 
cravat-scarf  of  Scotch  plaid  gauze,  which  is  gracefully  tied  on 
one  side.  However,  when  the  mornings  are  chill,  a  grey  sarsnet 
pelisse,  for  early  walks,  is  thought  very  elegant ;  this  silk 
pelisse  has  a  beautiful  falling  collar,  which  takes  from  it  any 


HISTORIC  DRESS  IN  AMERICA 


145 


winter-like  appearance.  If  a  sautoir,  or  half-handkerchief,  is 
worn  with  this  pelisse  it  is  of  rainbow  gauze  and  is  tied  close 
round  the  throat,  like  a  cravat.  These  gauze  handkerchiefs  are 
trimmed  round  with  a  broad  silk  fringe.  Black  lace  shawl 
handkerchiefs  are  very  prevalent  for  the  public  promenade. 

"  Leghorn  hats  are  very  much  worn  ;  they  are  often  orna- 
mented with  a  bow  of  ribbon,  with  long  ends  (what  our  grand- 
mothers used  to  call  streamers)  on  one  side.  A  bouquet  of  wild 
poppies  is  placed  in  front,  surmounted  by  a  plume  of  marabout 
feathers.  The  ribbon  is  either  straw  colour  or  striped.  Amongst 
the  newest  ribbons  is  that  of  Egyptian-sand  colour ;  the  common 
sand  sold  by  stationers,  to  prevent  writing  from  blots,  may  give 
you  some  idea  of  this  colour.  Straw  hats  are  ornamented  with 
a  large  cluster  of  corn  poppies,  or  with  ears  of  corn,  mingled 
with  marabout  feathers.  The  brims  of  some  hats  have  a  quill- 
ing of  blond,  both  above  and  beneath,  or  a  very  full  bouilloni 
of  gauze :  the  crown  of  such  hats  is  simply  ornamented  with  a 
bow  of  ribbon  on  one  side,  or  a  full-blown  rose,  especially  if  the 
hat  is  of  straw.  Lilac  linings  to  hats  are  popular,  but  it  is  not 
a  becoming  colour  when  placed  so  near  the  face  unless  the  com- 
plexion is  very  fair  and  clear.  The  flowers  are  mostly  placed  in 
front  of  the  hat  in  large  bunches,  composed  generally  of  wild 
poppies  and  honeysuckles.  For  the  promenade,  straw  hats  are 
usually  tied  under  the  chin  with  a  plaid  ribbon.  For  the  car- 
riage, handkerchiefs  of  stamped  crape  are  often  tastefully  dis- 
posed on  straw  hats  and  bonnets  ;  the  ground  of  these  handker- 
chiefs is  generally  white,  flowered  with  lilac.  Muslin  bonnets 
are  worn  for  the  deshabille  morning  walk.  Rose-coloured  hats 
are  much  in  favour,  with  trimmings  of  the  same  colour ;  lemon- 
coloured  hats  are  ornamented  with  trimmings  of  lilac,  and  lilac 
hats  with  lemon-colour.  Straw-coloured  gauze  is  much  used 
in  the  trimming  of  straws  hats  :  rainbow  gauze  is  a  favourite 


HISTORIC  DRESS  IN  AMERICA 


trimming  for  chip  hats.  Flame-coloured  feathers,  grouped  to- 
gether so  as  to  resemble  flowers,  are  favourite  ornaments  on  car- 
riage hats ;  as  are  all  kinds  of  field  flowers,  particularly  the 
woodbine  and  wild  poppy.  The  brims  of  some  hats  are  entirely 
covered  with  honeysuckle.  Sometimes  the  hat  is  trimmed  with 
either  a  bouquet  of  corn  poppies  or  of  roses.  The  semptress 
bonnet  is  again  revived  for  the  morning  promenade.  All  bon- 
nets are  placed  far  back,  and  are  generally  ornamented  at  the 
edges  with  tulle  quilled  in  large  plaits,  with  gauze  ribbon 
bouittonfe,  coxcombs,  or  ribbons  laid  on  plain.  The  bouquets 
placed  in  the  front  increase  in  magnitude,  and  are  spread  al- 
most over  the  whole  of  the  brim  :  tobacco-plant  flowers  and 
others  equally  spreading  are  mixed  with  those  most  in  season. 
Scotch  caps  are  not  so  much  in  favour  as  formerly,  except  those 
that  have  a  kind  of  gauze  drapery  depending  or  a  quilling  of 
blond  next  the  face  ;  and  with  such  appendages  they  are  cer- 
tainly no  longer  Scotch  caps.  Transparent  bonnets  of  rose- 
coloured  crape  are  much  admired  ;  they  are  ornamented  round 
the  crown  with  a  wreath  formed  of  bows  of  ribbon  ;  the  bon- 
nets are  fluted,  and  they  are  trimmed  at  the  edge  with  a  double 
row  of  plaited  gauze.  White  gauze  hats,  chequered  with  blue, 
are  generally  ornamented  with  blue  larkspur  arranged  in 
parallel  lines  on  one  side,  while  the  other  remains  bare. 

"  Cambric  gowns  are  often  ornamented  round  the  border 
with  stripes  of  clear  muslin  let  in  full,  and  as  many  stripes, 
alternately,  of  hemstitched  cambric.  The  corsage  is  also  formed 
of  these  alternate  stripes  in  bias  :  when  cambric  dresses  are 
flounced,  it  is  always  with  the  same,  but  the  edge  of  each  flounce 
is  hemstitched  and  each  flounce  is  headed  with  a  letting  in  of 
muslin,  embroidered  in  openwork.  Silk  dresses  were  never  in 
such  favour  for  evening  and  half  dress  as  they  are  now  ;  they 
are  ornamented  with  separate  pieces  of  quilling,  like  the  frill  of 


HISTGEIC  DRESS  IN  AMERICA 


147 


a  shirt;  and  these  are  placed  separately,  rather  in  bias,  forming 
two  rows,  which  have  a  very  elegant  and  rich  effect.  The  jockey 
at  the  top  of  the  sleeve,  which  we  formerly  called  mancheron,  is 
not  quite  so  fall  as  it  was ;  it  is  very  prettily  fancied,  and  so 
slashed  as  to  appear  a  melange  of  Spanish,  French  and  English  ; 
its  latter  similitude,  perhaps,  obtained  for  it  the  title  of  jockey. 
The  bodies  of  the  silk  dresses  are  all  plaited  horizontally. 
Frocks  which  button  behind  are  very  fashionable.  A  favourite 
trimming  on  violet-coloured  silk  gowns,  which  are  ver}'  preva- 
lent, consists  of  four  flounces  placed  two  and  two  and  laid  in 
flat  whole  plaits ;  between  the  hem  of  the  gown  and  the  edge  of 
the  lower  flounce  is  a  space  of  about  two  fingers  in  breadth  and 
between  the  first  and  second  row  of  flounces  is  a  space  much 
more  considerable.  Metallic  gauze  still  continues  in  fashion  for 
dress  hats  and  turbans.  Court  head-dresses  are  much  lower 
than  formerly,  the  hair  is  divided  in  front,  but  is  dressed  very 
full  on  each  side,  in  regular  small  curls.  Parasols  are  lined  and 
finished  with  a  very  broad  fringe  from  which  depend  balls  the 
colour  of  the  lining.  The  latest  ridicules  are  woven  without 
seam  :  they  are  made  in  the  English  fashion,  and  are  drawn  up 
and  ornamented  with  Scotch  plaid  ribbon." 

A  novelty  of  short  duration  was  in  the  form  of  a  head-dress 
for  home  costume.  It  was  a  silk  handkerchief,  called  mouchoirs 
mix  betes,  from  the  corners  being  embroidered  with  different 
animals  and  scenes  from  the  fables  of  La  Fontaine.  These 
handkerchiefs  were  sold  at  720  francs  the  dozen.  A  French 
wit  made  a  pun  on  this  head-dress,  calling  the  handkerchiefs 
"mouchoirs  affables." 

A  great  variety  of  fancy  gauzes  came  into  fashion  in  1821. 
Each  variation  had  a  name.  There  was  the  marbled  gauze,  the 
marabout  gauze,  the  deluge  gauze,  and  the  flowered  gauze.  The 
whys  and  wherefores  of  these  names  it  would  indeed  be  difficult 


1800-1842 

Figure  105. — 1800 — Biding  habit  of  blue  cloth,  black  velvet  collar  and  a 
double  row  of  gilt  buttons  called  Nelson's  balls.  Tan  gloves  and  half- 
boots  of  black  Spanish  leather.  Bound  cap  of  beaver  with  plume  and 
feathers  in  front,  and  band  of  gold  braid  around  the  crown. 

Figure  106.  — 1801 — Dark  blue  kerseymere  habit  with  three  rows  of  small 
blue  buttons  crossed  with  blue  cord  ;  collar  of  blue  velvet.  White 
beaver  hat  with  very  narrow  brim  and  two  short  white  feathers. 

Figure  107. — 1806— Biding  habit  of  lavender  blossom  cloth.  Hat  of  amber 
velvet  trimmed  with  loops  of  black  silk.  Buff  of  lace  and  muslin  ;  tan 
gloves  and  tan  shoes. 

Figure  108.— 1808 — Biding  habit  of  dark  green  cloth  trimmed  with  black 
braid  and  gilt  buttons.  Cap  of  the  same  cloth.  Gloves  and  shoes  of 
lemon-coloured  kid. 

Figure  109. — 1810 — Habit  of  Georgian  cloth,  ornamented  with  military 
frogs.    Hat  of  green  velvet  trimmed  with  white  fur. 

Figure  110. — 1817 — Biding  dress  of  light  brown  trimmed  with  frogs  of 
dark  brown.    Dark  brown  hat  with  feathers. 

Figure  111. — 1812 — Habit  of  bright  green  cloth,  embroidered  down  the 
front  and  on  the  cuffs  a  la  militaire.  Hat  of  black  beaver  trimmed  with 
gold  cord  and  tassels  and  a  long  ostrich  feather.  Black  shoes  and  tan 
gloves. 

Figure  112. — 1815 — Biding  habit  of  fine  blue  cloth,  front  and  cuffs  em- 
broidered ;  lace  ruff.    Hat  of  moss  silk  trimmed  with  feathers. 
Figure  113. — 1816— Biding  hat  of  black  beaver. 

Figure  114. — 1814 — Biding  hat  of  blue  brocaded  silk.  Wetherill  collec- 
tion in  Memorial  Hall. 

Figure  115. — 1812 — Biding  costume  of  Marie  Louise  blue,  trimmed  with 
gimp  to  match.    A  small  blue  cloth  hat  and  feathers  of  the  same  colour. 

Figure  116. — 1830 — Habit  of  very  dark  blue  cloth.  Top  hat  of  black  with 
a  blue  veil. 

Figure  117. — 1842 — Biding  dress  of  black  cloth,  top  hat  of  beaver  and  tan 
feathers.    High  black  satin  stock  and  bow  headed  with  cambric  frill. 


151 


to  define,  but  the  materials  were  especially  designed  for  bonnets 
and  head-dresses. 

White  silk  parasols  with  borders  of  flowers  painted  round 
them  were  among  the  novelties  from  Paris  in  that  year,  and  the 
newest  colours  were  wall-flower  and  Apollo's  hair ;  the  latter 
must  have  been  difficult  to  match,  but  rose,  pistachio-nut 
colour,  ponceau,  and  roasted  coffee,  were  all  popular. 

In  a  letter  from  Paris  (1821)  we  find  this  :  "  Vandyke  frills, 
round  the  back  and  shoulders  of  dress  gowns,  are  now  much  in 
vogue.  Mary  has  scarcely  an  evening  dress  without  them.  No 
ornament  gives  a  more  becoming  finish  to  the  bust;  and  while 
it  dresses  consistently  and  elegantly  the  back  and  shoulders,  it 
has  the  effect  of  lessening  the  appearance  of  the  waist  at  the 
bottom.  .  .  .  Caps  with  long  lappets  are  also  much  in  re- 
quest ;  and  these  lappets  confine  the  cap  under  the  chin  ;  this 
head-dress,  on  a  pretty  woman,  gives  the  countenance  a  resem- 
blance to  the  beautiful  faces  of  Isabey's.  Turbans  richly  em- 
broidered, and  fastened  with  gold  brooches,  are  much  worn  by 
young  married  ladies  ;  they  are  surmounted  either  by  marabouts, 
esprits,  heron's  feathers,  bird-of-Paradise  plumes,  or  curled 
ostrich  feathers.  A  long  veil  is  often  worn  with  a  turban,  the 
veil  floating  behind  a  la  Reine.  The  hair  is  now  divided,  in 
equal  bands,  on  the  top  of  the  head.  If  a  lady,  however,  wishes 
to  appear  lovely,  she  will  not  follow  the  disagreeable  fashion  of 
showing  the  skin  of  the  head,  which  has  always  an  unpleasing 
appearance. 

"  Jewelry  is  made  chiefly  of  polished  steel.  A  brooch  of 
polished  steel  confines  the  gown  to  the  bust,  and  another  is 
placed  in  the  back  between  the  shoulders :  these  brooches  are 
of  immense  price  and  of  most  beautiful  workmanship.  A  very 
pretty  woman  appeared  in  public  last  week  and  all  her  numer- 
ous ornaments  were  of  polished  steel  :  her  dress  was  a  marsh- 


152 


HISTOEIC  DRESS  IN  AMERICA 


mallow-blossom  colour,  which  admirably  set  off  the  superb 
brooches  she  wore  in  front  of  her  bust,  and  at  her  back. 

"  The  white  gloves  worn  with  short  sleeves  are  finished  by  a 
sharp  point  above  the  elbow,  that  comes  up  to  the  middle  of  the 
thick  part  of  the  arm,  which  the  glove  is  made  exactly  to  fit : 
they  are  therefore  so  tight  that  they  never  fall  down  or  wrinkle. 

"  The  hair  is  dressed  high,  and  the  temples  are  adorned  with 
locks  of  hair  which  are  lightly  frizzed  before  they  are  curled.  At 
the  benefit  of  Mademoiselle  Georges,  turbans  were  very  general 
particularly  the  Moabitish  turban,  fastening  under  the  chin. 
Toques  of  satin  with  white  marabout  feathers,  mixed  with  ears 
of  corn,  in  gold,  are  much  in  favour  for  grande  costume;  and 
cornettes  of  very  sheer  muslin  with  broad  long  ends,  are  uni- 
versal in  undress. 

"  The  most  elegant  parasols  are  of  India  muslin,  embroidered 
with  a  beautiful  border  in  feather  stitch,  instead  of  fringe;  the 
edge  is  finished  with  broad  Mechlin  lace,  about  four  inches  in 
breadth  ;  the  parasol  is  lined  with  azure  blue,  shot  with  white  ; 
the  stick  and  handle  are  of  polished  steel,  the  thick  part  is 
beautifully  wrought  and  the  handle  is  formed  like  the  leaf  of  the 
acanthus. 

"  Bouquets  are  much  worn  ;  they  consist  of  a  large  bunch  of 
Parma  violets,  or  a  full  bouquet  of  roses,  jessamine,  and  helio- 
tropes. Flowers  are  always  offered  as  an  homage  to  beauty  ; 
every  gallant  gentleman  presents  them  to  a  pretty  woman,  and 
she  accepts  them  as  her  due. 

"  Very  rich  bracelets  on  the  wrists,  and  rings  on  every  finger, 
are  indispensable  ornaments  at  evening  parties.  The  clasps  of 
belts  in  gold,  representing  two  hands  locked  together,  are  very 
fashionable." 

Reticules  of  Morocco  leather  were  considered  more  fashion- 
able than  those  of  silk  or  velvet.    We  hear,  too,  of  Scotch  plaid 


HISTORIC  DRESS  1 1ST  AMERICA 


153 


fringes  as  a  new  trimming  for  gowns  and  wraps.  Bonnets  were 
still  large,  but  they  were  somewhat  flattened  on  top  as  in  Figures 
118  and  119.  The  newest  were  transparent  and  lined  with 
coloured  silk  to  match  the  trimming.  All  that  could  be  said 
on  the  subject  of  the  latest  fashions  in  hats,  will  be  found  in 
the  following  extract  from  a  letter  by  a  Parisian  correspondent : 

"  Many  carriage  hats  are  made  of  striped  gauze  (Figure  272), 
or  crape,  of  pale  straw-colour,  and  are  trimmed  with  lilac. 
The  hats  are  somewhat  smaller  in  the  brims,  though  there  are 
some  hats  which  are  bent  down  in  the  shape  of  bonnets  (Figure 
120)  :  straw  hats,  of  every  shape,  are  now  becoming  very  general 
for  walking  ;  Leghorn  hats  have  already  made  their  appearance  ; 
the  brims  much  narrower  than  formerly  ;  they  are  ornamented 
with  a  narrow  scarf  of  plaid  silk,  forming  a  circular  drapery. 
These  hats  are  placed  on  one  side,  and  the  hair  that  is  exposed 
is  arranged  in  full  curls  or  ringlets.  Some  of  the  new  carriage 
hats  are  of  red  currant  colour,  with  the  strange  association  of 
rose-coloured  feathers.  The  most  tasteful  bonnet  for  walking  is 
curled  plush  silk  of  a  beautiful  pink;  and  grey  hats  with 
flowers  of  the  same  colour,  made  of  velvet  or  chenille,  are  in 
very  great  favour.  Dress  hats  for  the  theatre,  or  for  evening 
parties,  are  often  seen  ornamented  with  cock's  feathers  ;  and 
hats  of  black  velvet  are  trimmed  with  white  marabouts  mixed 
with  gold  ears  of  corn.  Wreaths  of  flowers  are  the  chief  head- 
ornament  for  young  ladies ;  the  flowers  with  their  foliage  are 
thinly  scattered  in  front  but  very  full  on  the  temples  ;  geraniums 
and  eglantine,  with  little  spiral  white  flowers  from  the  cups  of 
which  issue  little  tufts  of  silk,  are  used  for  these  wreaths.  Ban- 
deaux of  pearls  are  worn  in  the  ballroom,  and  for  evening 
visits  bandeaux  of  white  or  rose-coloured  satin,  wreathed  round 
with  summer  roses. 

"  Five  separate  strips  of  satin  form  the  chief  trimming  on 


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HISTORIC  DRESS  IN  AMERICA 


the  border  of  merino  dresses.  On  muslin  or  cachemire  there 
are  the  same  number  of  full  quilled  narrow  flounces.  The 
dresses  for  walking  are  so  long  that  they  nearly  touch  the 
ground.  Black  velvet  dresses  are  much  worn  at  evening 
parties  ;  they  are  ornamented  with  beads,  with  a  girdle  of 
rose-coloured  or  blue  velvet ;  which  girdle  is  adorned  with 
Brandenburghs  made  of  bugles.  White  cachemire  dresses, 
trimmed  at  the  border  with  three  bands  of  satin,  are  much  worn 
at  the  Parisian  tea-parties  ;  those  parties,  which  I  recollect  so 
much  astonished  you  when  you  first  beheld  them  ;  not  only  at 
the  sight  of  the  orange  flower  water  mingled  with  the  tea,  but 
at  the  enormous  bowl  of  punch  which  made  a  part  of  the  repast. 
Les  Thes  are  not  much  improved  ;  and  there  are  none  but  the 
British,  and  more  especially  the  Irish,  that  know  how  to  make 
this  refreshment  a  real  banquet." 

An  extract  from  another  letter  on  French  fashions  describes 
the  newest  designs  in  fans  : 

"  Two  ladies,  eminent  for  fashion,  have  lately  sported  at  the 
theatres  a  kind  of  fan  made  of  a  bunch  of  feathers  like  those 
fans  we  see  in  old  English  pictures  ;  they  collect  the  air,  and  it 
is  possible  that  they  may  become  more  general.  Fans,  how- 
ever, of  the  last  fashion  are  of  sandalwood,  mother-of-pearl, 
horn  in  imitation  of  tortoise  shell,  or  of  ivory  :  they  are  orna- 
mented with  garlands  of  roses,  heart's-ease,  lilacs,  or  the  little 
blue  flower,  forget-me-not.  The  wreaths  are  painted  at  the  top 
very  near  to  the  narrow  ribbon  that  confines  the  mount- 
sticks." 

Turning  over  the  fashion  plates  of  1821,  we  notice  that  the 
dresses  are  worn  decidedly  shorter  again.  Fluted  and  plaited 
trimmings  of  the  material  are  used  on  the  sleeves  and  also 
around  the  bottoms  of  the  skirts  (Figure  120).  What  was 
called  a  matted  silk  trimming  was  also  very  popular  ;  six  rows 


HISTORIC  DRESS  IN  AMERICA 


155 


of  it  were  sometimes  used,  about  one  inch  apart,  a  little  above 
the  hem.  Small  caps  were  very  much  worn  with  evening 
gowns.  Pelisses  were  still  in  vogue.  A  very  pretty  one  is 
given  in  a  French  magazine  of  1821. 

"  Grey  levantine  pelisse  trimmed  down  the  front,  round  the 
border,  and  at  the  mancherons  with  full  puffings  of  the  same 
colour  and  material.  The  pelisse  left  open  in  front  of  the 
bust.  Marguerite  coloured  satin  bonnet,  edged  with  short 
white  marabouts  ;  and  the  bow  of  satin  on  the  bonnet  fastened 
with  two  rows  of  pearls.  Plain  fichu  of  fine  India  muslin 
worn  under  the  pelisse  ;  slippers  of  grey  kid  ;  a  ridicule  of 
small  beads  beautifully  wrought,  and  lemon-coloured  gloves." 

We  hear  of  Nile-green  as  a  new  colour  at  this  time,  and 
Marguerite  pink  is  repeatedly  mentioned.  Broad  sashes  of 
watered,  figured,  and  striped  ribbon  were  now  introduced  and 
became  very  popular. 

From  a  contemporary  letter  we  take  the  following  :  "  When 
the  corner  of  the  white  handkerchiefs  of  fine  lawn  had  only  a 
little  embroidery,  then  one  of  these  corners  served  as  a  purse  to 
the  French  ladies ;  and  after  tying  a  knot  they  fastened  their 
ring  of  keys  to  it.  Now  these  handkerchiefs  are  so  beautifully 
embroidered,  that  they  require  more  management  in  the  display 
of  them ;  and  those  fashionable  dames  who  will  not  take  the 
trouble  of  carrying  a  little  basket  or  a  ridicule  have  a  silver 
purse  that  they  fasten  to  their  belt. 

"  If  the  plumassiers  have  feathered  their  own  nests,  the 
flower-makers  have  also  their  profits.  Young  ladies  have  a 
bouquet  of  flowers  on  one  side  of  the  head,  while  a  wreath  is 
entwined  among  their  tresses  ;  and  every  ladies'  hat,  bonnet,  or 
cap  is  almost  covered  with  flowers. 

"  Expense  and  luxury  of  every  kind  increase ;  I  asked  a 
young  lady  yesterday,  who  I  know  has  very  little  fortune,  but 


156 


HISTORIC  DRESS  IN  AMERICA 


whose  connections  often  oblige  her  to  mix  much  with  the  gay 
world,  which  obligation,  it  must  be  confessed,  she  fulfills  to 
the  very  letter,  how  much  it  cost  her  for  every  ball  she  went  to, 
without  reckoning  her  frock  and  slip,  or  indeed  her  jewels, 
which  are  most  of  them  presents.  She  told  me  that  what  with 
hiring  a  carriage  (for  her  parents  do  not  keep  one),  the  expense 
of  the  hair-dresser,  added  to  other  trifles,  such  as  ornamented 
white  gloves,  white  satin  shoes,  flowers  for  her  hair,  ribbons, 
some  slight  alteration  in  the  fashion  or  the  trimming  of  her  robe, 
or  a  new  corsage  by  way  of  change,  it  cost  her  every  night  she 
went  to  a  ball  or  concert  about  one  hundred  and  twenty  francs." 

Cafe  au  lait  was  a  new  colour  in  1822,  and  the  favourite  trim- 
ming seems  to  have  been  wadded  rouleaux  of  satin.  In  Figures 
61  and  103,  pictures  of  this  trimming  are  given.  It  was  in 
favour  for  several  years  and  was  revived  about  1870,  as  is  shown 
in  Figure  315.  Feather  trimming  was  also  popular.  We  read  of 
"  a  black  dress,  trimmed  with  rows  of  feathers,  much  in  vogue  ; 
the  last  row  terminates  at  the  knee,  the  spaces  between  the  rows 
of  feathers  are  not  very  wide  ;  the  gown  is  made  high,  with  a 
standing  up  collar,  edged  with  feathers.  Merino  is  much  worn 
in  half  dress,  with  wadded  rouleaux  and  braided  satin  trimmings 
between." 

A  note  from  Paris  in  the  autumn  of  1822  says  :  "  Small 
fichus,  tied  carelessly  round  the  throat,  are  also  much  worn  at 
dress  parties ;  they  are  of  one  colour,  and  often  fastened  with 
a  golden  arrow." 

An  interesting  bonnet  of  1823  may  be  seen  in  the  Wetherill 
Collection  at  Memorial  Hall,  Philadelphia.  It  is  made  of  pink 
silk  with  alternate  watered  and  figured  stripes  and  trimmed 
with  bows  of  pink  ribbon  with  a  satin  border  and  evidently  had 
flowers  arranged  in  the  bows  at  the  left  side.  A  sketch  of  it  is 
given  in  Figure  272. 


HISTORIC  DRESS  IN  AMERICA 


157 


Three  elaborate  bonnets  are  described  in  a  London  magazine 
of  the  same  date  :  "  Carriage  bonnet  of  pink  crape  ornamented 
with  rouleaux  of  pink  satin,  relieved  by  brocaded  crape  of  the 
same  colour  edged  with  blond  lace  ;  lappets  of  brocaded  crape 
edged  with  lace  take  the  place  of  strings,  the  back  of  the  bonnet 
is  very  richly  ornamented  with  pink  satin,  and  the  crown  is  in 
the  toque  form. 

"  A  walking  bonnet  of  white  sarsnet,  with  raised  spots, 
bound  and  trimmed  with  Danish  blue  satin,  three  bouffont 
flutings  of  which  material  ornament  the  left  side,  representing 
tulip  leaves  on  the  edge  of  the  brim  ;  the  other  side  ornamented 
with  full  puffings  edged  with  narrow  straw  plaiting. 

"  Park  carriage  bonnet  of  white  crape  over  white  satin,  lined 
with  a  fluting  of  broad  blond  ;  the  crown  finished  by  a  light 
gauze  puffing,  with  a  leaf  end  richly  trimmed  with  blond.  On 
the  left  side  a  full  bunch  of  Provence  roses,  surmounted  by  a 
marabout  plume  of  feathers." 

We  read  that  "a  new  kind  of  hat  has  lately  been  invented, 
platted  like  straw  ;  but  its  fabrication  is  of  silk.  These  were 
first  invented  to  send  out  to  the  United  States,  where  Leghorn 
hats  are  prohibited.  Leghorn  hats,  with  bands  of  straw  and 
ripe  ears  of  corn  round  the  crown,  are  very  popular."  Why 
they  were  not  allowed  to  be  imported  into  America  we  have 
not  been  able  to  discover. 

Chambery  gauze,  a  tough  but  shimmery  material,  was  pop- 
ular in  1822,  and  was  much  worn  also  in  the  seventies. 
"  Broad  belts  of  leather  buckled  on  one  side  "  were  preferred 
by  many  to  the  long  sashes  of  ribbon. 

The  bodices  of  the  gowns  were  cut  square  behind  and  before, 
and  they  had  a  double  tucker,  one  falling,  and  the  other  stand- 
ing up.  A  great  deal  of  trouble  was  apparently  taken  to  pro- 
duce new  effects  in  the  trimming  of  white  dresses.  Sometimes 


1820-1840 

Figure  118. — 1825 — Fashionable  mourning  walking  dress.    From  a  plate. 
Figure  119. — 1820 — Outdoor  costume.    From  a  plate. 
Figure  120. — 1821 — Dinner  party  dress.    Drawn  from  a  plate. 
Figure  121. — Extremes  of  fashion  in  the  thirties. 
Figure  122. — 1835 — A  wedding  dress.    From  a  portrait. 
Figure  123. — Extremes  of  fashion  in  the  thirties. 


HISTORIC  DRESS  IN  AMERICA 


161 


the  "  trimming  represented  branches  of  the  acacia,  the  leaves 
formed  by  puffs  or  folds  of  muslin,  the  stalks  embroidered  in 
cotton,  and  the  branches  separated  by  openwork  ;  the  em- 
broidery at  the  bottom  of  the  skirt  reached  up  to  the  knee ;  the 
branches  of  acacia  were  made  to  twine  round  the  sleeves,  and  a 
falling  collar  was  worn  edged  with  this  design." 

Other  cambric  dresses  were  finished  at  the  bottom  by  two 
rows  of  "  letting-in  lace."  Between  these  rows  was  an  em- 
broidery on  the  cambric  of  muslin  leaves,  the  letting-in  lace 
being  six  inches  wide.  An  apron  of  cambric,  it  seems,  was 
often  worn  with  white  dresses,  trimmed  with  two  rows  of 
quilled  muslin. 

Some  ladies  wore  a  dozen  flounces  on  their  dresses,  about 
three  fingers  in  depth,  and  scalloped  at  the  edges.  On  sarsnet 
dresses  narrow  flounces  caught  up  in  scallops  were  a  favourite 
ornament ;  six  of  these  flounces  might  be  used,  placed  at  "  about 
a  finger's  length  distance  "  from  one  another. 

Corsages  of  silk  or  satin  ball  dresses  were  covered  with  tulle 
and  a  tucker  of  plaited  net  drapery  was  fastened  with  a  brooch 
as  a  modest  covering  for  the  bust.  Barege  silk  dresses  were 
made  with  long  sleeves  of  embroidered  muslin ;  when  the 
sleeves  were  short  they  were  very  full. 

A  Paris  correspondent  recounts  a  very  extravagant  costume 
and  other  fashions  for  1822  :  "  A  wedding  dress  has  lately  been 
made  for  a  very  charming  young  lady  of  large  fortune.  It  is 
of  tulle  embroidered  in  embossed  daisies,  which  are  all  of  seed 
pearls.  A  diadem  for  her  hair  is  formed  of  five  daisies  in 
pearls  ;  this  diadem  is  valued  at  thirty  thousand  francs.  At  the 
last  evening's  musical  performance  of  M.  Massimimo,  I  re- 
marked a  white  hat  of  straw,  the  brim  of  which  was  embroid- 
ered in  white  silk  flat  embroidery.  A  very  full  and  high  plume 
of  marabout  feathers  was  placed  on  one  side. 


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HISTOEIC  DRESS  IN  AMERICA 


"  Turbans  are  of  two  colours,  for  example  :  celestial  blue  and 
white;  cherry  colour  and  white;  or  pink  and  straw  colour. 
Small  Leghorn  hats,  a  I'Arcadie,  are  now  much  worn  at  balls  ; 
the  strings  hang  down  as  low  as  the  sash. 

"  The  favourite  shoes  are  black  satin,  with  or  without  sandal 
ties,  according  to  the  taste  of  the  wearer.  Lilac  kid  shoes  are 
also  very  fashionable.  When  gaiters  and  English  half  shoes 
are  worn  for  walking  the  petticoats  are  always  very  short. 

"  The  gloves  worn  with  short  sleeves  do  not  come  up  to  the 
elbow  :  they  are  very  tight,  but  are  so  much  rusked  that  they 
are  only  two  fingers'  breadth  higher  than  the  bracelet. 

"  A  cross  with  a  little  watch  in  the  centre  is  the  newest  orna- 
ment in  the  jewelry  line.  Some  other  crosses,  with  a  floweret  be- 
tween each  branch,  conceal  a  spying-glass.  A  new  kind  of  seal, 
called  cachet  a  la  roue,  has  lately  been  invented  ;  it  is  fixed  to  a 
wheel  suspended  from  the  watch-chain,  and  on  different  kinds 
of  gems  are  engraved  letters,  so  combined  that  the  initials  of 
these  gems  form  a  device.  The  newest  bracelets  are  of  red 
morocco  fastened  with  a  buckle." 

The  principal  change  in  the  fashions  for  the  winter  season 
of  1823  was  that  bonnets  were  made  of  more  substantial  ma- 
terials, such  as  velvet  or  beaver,  the  latter  being  very  much  in 
favour.  They  were  lined  with  coloured  satin  and  trimmed  with 
long  feathers  hanging  down  over  the  shoulder.  The  latest  hats 
were  of  black  velvet,  but  there  was  no  marked  change  in  the 
shapes,  except  that  the  brims  spread  out  more  like  a  fan.  Hats 
were  faced  with  a  sort  of  silk  plush  and  the  trimming  consisted 
of  rosettes,  half  satin,  half  plush. 

Black  velvet  dresses  were  exceedingly  fashionable  for  the 
winter  of  1823,  made  very  short  and  trimmed  with  flounces  of 
black  lace.  A  novel  combination  is  described  in  a  French 
magazine :  "  The  dresses  most  in  favour  are  of  black  velvet, 


HISTOEIC  DRESS  IN  AMERICA 


163 


made  very  short,  and  flounced  with  black  lace ;  one  of  these 
flounces  is  set  on  at  the  edge  of  the  hem,  and  is  of  a  very  rich 
pattern,  which  is  admirably  displayed  over  a  white  satin  dress 
worn  under  the  velvet  one,  and  made  as  much  longer  than  the 
upper  garment,  as  the  lace  is  broad." 

"  The  materials  for  turbans  this  autumn  (1823)  are  of  the 
most  effective  kind,  and  well  adapted  for  evening  wear.  Some 
are  of  white  gossamer  gauze  with  green  and  gold  stripes,  with 
the  white  spaces  between  slightly  clouded  with  gold  ;  others  are 
of  a  rainbow  striped  gauze,  on  a  green  ground  powdered  with 
gold  ;  the  stripes  are  crimson,  royal  blue,  green  and  yellow ;  but 
the  most  superb  material  for  the  full  dress  turban  is  pactolus, 
or  golden  sand  gauze.  It  combines  both  lightness  and  richness, 
and  makes  up  beautifully  ;  but  much  care  is  required  in  not 
making  it  appear  heavy,  and  none  but  a  skillful  Marchande  de 
Modes  can  possibly  pin  up  a  turban  of  this  material  so  as  to  give 
it  a  proper  effect.  It  is  peculiarly  becoming  to  ladies  with  dark 
hair  and  eyes." 

According  to  all  the  authorities,  pelisse  dresses  were  the 
favourites  for  house  wear.  Made  to  clear  the  instep,  and  open- 
ing over  a  false  petticoat  trimmed  to  match  the  gown,  they 
were  both  graceful  and  dignified.  In  Figure  62  a  charming 
morning  frock  of  this  style  is  shown,  made  of  fine  cambric, 
beautifully  embroidered  by  hand.  The  hat  in  the  sketch  is 
taken  from  a  contemporary  plate.  It  was  worn  by  a  Virginia 
bride,  Miss  Colquhoun,  of  Petersburg,  the  morning  after  her 
wedding  in  1823.  Evening  dresses  were  made  of  gauze  and 
trimmed  with  puffings  of  satin  or  net,  and  caught  down  with 
rosettes  or  knots  of  the  gauze.  The  wedding  dress  of  Miss 
Colquhoun,  given  in  Figure  103,  was  made  in  this  way. 

A  Paris  letter  informs  us  that  "  at  public  spectacles  and  es- 
pecially at  concerts,  caps  are  universally  worn  ;  these  head- 


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HISTORIC  DRESS  IN  AMERICA 


dresses  have,  however,  undergone  a  change  ;  they  are  no  longer 
of  the  Mary  Stuart  shape  with  the  point  on  the  forehead.  The 
fashionable  cap  now  is  called  the  Clotilda  cap ;  it  is  almost  a 
complete  garland  of  musk  roses,  white  thorn,  small  daisies  and 
clematis,  under  a  trimming  of  blond,  and  this  full  wreath  lies 
between  the  blond  and  the  hair  and  terminates  at  the  ears. 
Dress  hats  are  made  of  spotted  velvet  and  are  ornamented  with 
three  or  five  plumes,  laid  round  the  brim  of  the  hat." 

The  same  correspondent  continues  :  "  A  dress  scarf  occa- 
sionally thrown  over  an  evening  robe  is  much  in  favour  ;  it  is 
of  flame-coloured  barege  silk,  each  end  ornamented  with  three 
black  stripes  and  a  black  fringe  ;  some  of  these  scarfs  have  the 
stripes  entwined  with  rings  of  gold. 

"  The  fashionable  furs  are  the  fox,  the  white  wolf  of  Siberia, 
and  the  chinchilla  :  the  fur  tippets  have  very  long  ends.  The 
fur  trimmed  shoes  are  of  violet  or  dark  blue  velvet ;  they  tie  up 
the  front  and  are  finished  with  three  large  rosettes  of  satin 
ribbon,  with  short  ends.    .    .  . 

"  Half-boots  are  again  very  popular  for  walking ;  they  are  of 
dark  blue,  dark  green,  jean  colour,  or  black  ;  and  made  of  a  new 
kind  of  fine  morocco  leather  called  Turkish  satin. 

"  A  lady  has  lately  arrived  here  from  Louisiana,  and  has 
presented  some  of  her  friends  with  very  pretty  fans,  made  of 
feathers,  which  fans  were  fabricated  in  that  part  of  America. 
They  are  composed  of  twenty-five  different  feathers,  each  seven 
inches  long,  ranged  in  a  half  circle,  twelve  belonging  to  the  left 
wing,  and  twelve  to  the  right :  these  feathers  all  turn  inward  ; 
and  it  is  observed  that  in  fixing  one  to  the  other  the  barbs  of 
the  second  feather  half  cover  those  of  the  first,  and  so  on  to  the 
twelfth.  The  middle  feather  inclines  neither  to  one  side  nor 
the  other,  but  its  barbs  half  cover  the  two  feathers  on  each  side 
of  it.    The  stalks  of  the  feathers  are  all  stripped  to  a  certain 


HISTORIC  DRESS  IN  AMERICA 


165 


height ;  and  it  is  these  which  form  the  sticks  of  the  fan ;  above 
and  beneath  each  stick  is  a  narrow  ribbon  the  two  ends  of 
which,  before  the  rosette  at  the  extremity  is  formed,  leave  a 
loop,  whereby  to  hang  the  fan  on  the  arm,  when  not  in  use. 
The  natural  colour  of  the  feathers  of  the  different  birds  from 
whence  they  are  taken,  gives  to  the  fan  the  appearance  of  a 
shell :  the  bowed-out  part  of  the  mount  is  painted  with  flowers 
or  devices  and  the  hollow  part  is  held  next  the  face." 

A  gown  of  white  cashmere  embroidered  in  jonquil-coloured 
silk  with  shoes  to  match,  is  a  costume  described  in  a  contempo- 
rary letter  that  sounds  very  attractive.  Sleeves  both  short  and 
long  were  made  very  full. 

The  chief  novelty  of  the  year  (1823)  were  the  plaited  blouses. 
In  "  La  Belle  Assemblee  "  is  the  first  mention  of  the  familiar 
garment,  we  have  found,  and  we  pinch  ourselves  to  see  if  we  can 
be  awake  when  we  read  :  "  The  new  blouses  are  many  of  them 
made  of  clear  muslin."  "  Nothing  is  thought  rare  that  is  not 
new  and  follow'd,  yet  we  know  that  what  was  worn  some 
twenty  years  ago  comes  into  grace  again."  *  Several  times 
twenty  years  brought  the  "  too  prevailing  "  blouses  into  grace 
again.  Parti-coloured  feathers  were  "  all  the  rage "  in  the 
last  half  of  this  year ;  four  plumes  each  of  a  different  colour 
were  often  worn  on  one  hat  or  bonnet. 

Although  lace  has  never  been  manufactured  at  its  best  in 
this  country,  it  is  interesting  to  know  that  in  1823  a  successful 
effort  was  made  in  Massachusetts. 

"  Medway  Lace. — We  examined  yesterday  (says  the  '  New 
York  Statesman  ')  at  John  Nesmith  &  Co.'s  store,  Fly-market, 
two  boxes  of  lace,  manufactured  at  Medway,  Mass.,  by  Dean 
Walker  &  Co.,  in  a  singularly  constructed  loom,  made  in  this 
country,  from  the  recollection  of  a  similar  machine  examined 

*  Beaumont  and  Fletcher. 


1G6 


HISTOKIC  DRESS  IN  AMERICA 


by  one  of  our  artists  in  England,  and  who,  by  his  genius  and 
memory  has  thus  obtained  what  he  wished,  without  violating 
the  law  of  England  against  the  exportation  of  machinery. 
.  .  .  The  lace  is  pronounced  by  good  judges  to  be  of  a 
superior  quality,  and  that  it  will  not  suffer  in  comparison  with 
the  imported,  made  from  the  same  material,  while  the  price  is 
stated  to  be  much  lower.  The  widest  is  very  beautiful,  and 
richly  and  tastefully  wrought.  We  may  add  that  it  is  destined 
to  become  very  fashionable  as  we  learn  that  the  proprietor,  on  a 
late  visit  to  Washington,  was  very  much  gratified  to  find  a 
liberal  purchaser  in  the  lady  of  one  of  the  honourable 
members  of  the  cabinet."  * 

The  chief  social  excitement  of  this  year  in  the  United 
States  was  the  visit  of  La  Fayette,  who  came  as  the  guest  of  the 
nation  invited  by  President  Monroe  by  order  of  Congress.  The 
coming  of  the  great  Frenchman  revived  the  feeling  of  gratitude 
and  friendship  for  France.  Our  people  throughout  the  country 
exerted  themselves  in  every  way  to  show  their  appreciation  of 
the  aid  of  the  French  troops  at  Yorktown.  Balls,  fetes,  dinners, 
parades,  etc.,  were  given  in  every  city.  In  Philadelphia  the 
celebration  lasted  for  several  days.  A  local  newspaper  gives 
the  following  account : 

"The  Nation's  Guest 
"  On  Monday  morning,  the  4th  inst.,  about  three  hundred 
children  of  both  sexes,  from  the  different  schools  in  Philadel- 
phia, were  arranged  in  the  State  House  yard  to  receive  General 
La  Fayette:  the  spectacle  was  most  beautiful  and  highly  inter- 
esting. 

"  In  the  evening  he  attended  a  grand  ball  at  the  theatre  : 
the  lobby  of  which  was  converted  into  a  magnificent  saloon, 

*  Niles'  Weekly  Register  (1823-1824). 


HISTORIC  DRESS  IN  AMERICA 


16T 


adorned  with  beautiful  rose,  orange  and  lemon  trees,  in  full 
bearing,  and  a  profusion  of  shrubbery,  pictures,  busts,  banners 
with  classical  inscriptions,  etc.,  all  illuminated  with  a  multi- 
tude of  lamps.  For  the  dancers  there  were  two  compartments, 
the  house  and  the  stage  ;  the  upper  part  of  the  former  was  hung 
with  scarlet  drapery,  studded  with  golden  stars,  while  the  great 
chandelier,  with  two  additional  ones,  and  a  row  of  wax  tapers, 
arranged  over  the  canopy,  shed  down  a  blaze  of  light.  The  first 
and  second  tiers  of  boxes  were  crowded  with  ladies  in  the  richest 
apparel,  as  spectators  of  the  dazzling  array.  Beyond  the  pro- 
scenium the  stage  division  wore  the  appearance  of  an  Eastern 
pavillion  in  a  garden,  terminating  with  a  view  of  an  extended 
sea  and  landscape,  irradiated  by  the  setting  sun,  and  meant  to 
typify  the  Western  world.  The  company  began  to  assemble 
soon  after  seven  o'clock,  and  consisted  of  two  thousand 
or  more  persons,  of  whom  600  or  700  were  invited  strangers. 
Twenty-two  hundred  tickets  had  been  issued.  No  disorder 
occurred  in  the  streets,  with  the  arrival  and  departure 
of  the  carriages,  which  formed  a  line  along  the  adjoining 
squares. 

"  General  La  Fayette  appeared  at  nine  o'clock  and  was  re- 
ceived at  the  door  by  the  managers  of  the  ball.  He  was  con- 
ducted the  whole  length  of  the  apartments  through  an  avenue 
formed  by  the  ladies  to  the  bottom  of  the  stage,  where  Mrs. 
Morris,  Governor  Shulze,  and  the  Mayor  waited  to  greet  him 
in  form  :  the  full  band  playing  an  appropriate  air  during  his 
progress.  As  soon  as  he  was  seated,  the  dancers  were  called,  and 
at  least  four  hundred  were  immediately  on  the  floor.  The  danc- 
ing did  not  cease  until  near  five  o'clock,  though  the  company  be- 
gan to  retire  about  three.  At  twelve,  one  of  the  managers,  from 
an  upper  box,  proclaimed  a  toast  '  to  the  nation's  guest,'  which 
was  hailed  with  enthusiasm  and  accompanied  by  the  descent 


1840-1848 

Figure  124. — 1847 — Bonnet  of  shirred  white  satin  with  panache  of  ostrich 
tips.  From  the  collection  of  Miss  Dutihl,  in  Memorial  Hall,  Phila- 
delphia. 

Figure  125. — 1840 — Plain  straw  bonnet  trimmed  with  brown  ribbon. 
From  a  plate. 

Figure  126. — 1848 — Bonnet  of  dove-coloured  satin  with  pale  pink  and 

green-figured  ribbon.    From  Miss  Dutihl' s  collection,  in  Memorial 

Hall,  Philadelphia. 
Figure  127. — 1845 — House  dress  of  mousseline  de  laine.    Hair  in  Polish 

braids.    From  a  Daguerreotype. 
Figure  128. — 1840 — Walking  costume  showing  lingerie  bodice  and  silk 

scarf  with  Eoman  stripes.    From  a  plate. 
Figure  129. — 1843 — Dress,  of  grey  satin  with  black  lace  scarf.    Worn  in 

Boston. 

Figure  130. — 1848 — Bonnet  of  pink  uncut  velvet  trimmed  with  silk  fringe 
and  a  band  of  braided  velvet  of  the  same  colour.  Miss  Dutihl' s  collec- 
tion, in  Memorial  Hall,  Philadelphia. 

Figure  131. — 1840 — Bonnet  of  white  ribbed  silk.  Blond  veil  with  pink 
ribbons.  Small  pink  flowers  inside  the  brim.  Miss  Dutihl's  collec- 
tion, Memorial  Hall,  Philadelphia. 

Figure  132. — 1845 — Quilted  hood  of  ruby  silk.  Memorial  Hall,  Phila- 
delphia. 


HISTORIC  DRESS  IN  AMERICA 


171 


of  a  banner  from  the  ceiling.  Behind  this  was  suddenly  dis- 
played a  portrait  of  the  general,  with  allegorical  figures."  * 

We  are  told  that  as  each  guest  was  presented  to  the  Marquis 
de  La  Fayette,  he  bowed  with  much  grace  of  manner  and  said 
in  very  careful  English  :  "  How  do  you  do  ?  " 

Speaking  of  the  ball  given  to  General  La  Fayette  in  Baltimore 
a  few  nights  afterwards,  the  same  paper  says :  "  It  was  the 
grandest  entertainment  of  the  kind  ever  witnessed  in  this  city, 
both  as  regards  the  style  and  taste  of  the  decorations  and  the 
brilliant  and  elegant  appearance  of  the  company,  which  was  far 
more  numerous  than  usually  assembled  here  on  such  occasions. 
When  the  music  for  the  dancing  ceased,  the  military  band  of 
the  first  rifle  regiment  played  the  most  pleasing  and  fashionable 
airs.  .  .  .  Just  before  the  ladies  of  the  first  tables  retired, 
General  La  Fayette  requested  permission  to  give  the  following 
toast,  which  was  received  in  a  manner  that  reflected  credit  on 
the  fair  objects  of  it :  '  The  Baltimore  ladies — the  old  gratitude 
of  a  young  soldier  mingles  with  the  respectful  sense  of  new 
obligation  conferred  on  a  veteran.'  The  ladies  rose  and  saluted 
the  general,  and  the  sensation  and  effect  is  not  to  be  described  ; 
when  he  sat  down  there  was  a  burst  of  applause  from  all  the 
gentlemen  present." 

"  See  the  proud  eagle  now  with  folded  plume 
The  form  and  temper  of  the  dove  assume  : 
Now  free  to  soar  through  his  own  native  skies, 
Nor  vengeful  beak,  nor  toiling  wing  he  plies, 
But  all  his  struggles  o'er,  his  wrongs  redress' d, 
He  bends  to  greet  a  friend,  his  country's  guest."  t 

We  are  so  fortunate  as  to  be  able  to  give  a  picture  in  Figure 
142  of  a  ball  dress  actually  worn  at  this  important  function  by 
Miss  Amanda  Nace.    A  badge,  with  the  head   of  the  dis- 

*  Niles'  Weekly  Register  (1824-1825).  t  Ibid. 


172 


HISTOEIC  DEESS  IN  AMERICA 


tinguished  guest  on  a  white  silk  ribbon  edged  with  gold  fringe, 
will  be  seen  on  the  breast.  The  dress  itself  is  of  white  cham- 
bery  gauze  and  the  trimming  a  deep  pink  gauze  piped  with 
white  satin.  The  costume  is  complete  all  but  the  gloves,  about 
which  an  interesting  anecdote  has  been  related  to  me  by  Miss 
Bittinger,  a  granddaughter  of  the  owner  of  the  gown,  to  whom 
I  am  also  indebted  for  the  picture.  The  head  of  La  Fayette 
was  stamped  on  the  back  of  each  glove,  and  as  the  old  courtier 
bent  over  the  hand  of  the  wearer  to  imprint  thereon  a  kiss  in 
the  old  style,  he  recognized  his  own  likeness,  and  with  a  few 
graceful  words  to  the  effect  that  he  did  not  care  to  kiss  himself, 
he  made  a  very  low  bow,  and  the  lady  passed  on. 

As  La  Fayette  went  through  the  streets  of  Washington  on  the 
day  of  his  arrival,  a  woman  dressed  to  represent  Fame  recited 
the  following  lines  : 

' '  Take  this  wreath,  the  badge  of  glory, 
Which  thou  hast  so  nobly  won, 
La  Fayette  shall  live  in  story, 
With  the  name  of  Washington. 

"  Warriors  known  by  devastation, 

Who  have  filled  the  world  with  fears, 
Never  gained  my  approbation, 
When  their  wreaths  were  stained  with  tears. 

"  But  thou,  a  suitor,  far  more  true, 

Has  courted  me  with  winning  wiles, 
As  thy  desert,  I  give  to  you 
The  crown  of  laurel,  deck'd  with  smiles." 

Less  bombastic,  but  certainly  more  touching,  was  the  presen- 
tation of  a  ring  containing  Washington's  hair  which  was  made 
at  Mount  Vernon  with  this  address :  "  The  ring  has  ever  been 
an  emblem  of  the  union  of  hearts,  from  the  earliest  ages  of  the 
world,  and  this  will  unite  the  affections  of  all  the  Americans  to 
the  person  and  posterity  of  La  Fayette  now  and  hereafter  ;  and 


HISTORIC  DRESS  IN  AMERICA 


173 


when  your  descendants  of  a  distant  day  shall  behold  this  valued 
relic,  it  will  remind  them  of  the  heroic  virtues  of  their  illus- 
trious sire,  who  received  it,  not  in  the  palaces  of  princes,  or  amid 
the  pomp  and  vanities  of  life,  but  at  the  laurelled  grave  of 
Washington." 

From  1825  to  1835,  the  leg-of-mutton  sleeves  were  undoubt- 
edly the  most  striking  article  of  woman's  dress.  It  is  not  known 
who  invented  these  sleeves  or  gave  them  the  name  which  so 
well  describes  their  shape,  but  like  most  popular  fashions  they 
increased  in  size  until  they  became  absolutely  grotesque. 
Almost  as  much  material  was  required  to  make  a  pair  of  fash- 
ionable sleeves  as  for  the  skirt  of  the  gown,  although  the  latter 
was  more  voluminous  than  it  had  been  for  many  years.  Like 
the  hooped  skirts  and  panniers  of  George  IV's  time,  the  sleeves 
took  up  so  much  room  that  it  was  necessary  for  the  wearer  to 
go  through  an  ordinary  door  sideways.  A  contemporary  says 
of  this  fashion  that  walking  behind  a  pair  of  these  sleeves  one 
could  always  hear  a  curious  creaking  sound  made  as  they 
rubbed  together  at  the  back. 

The  picture  of  a  large  Leghorn  hat  of  this  period  is  given  in 
Figure  273.  The  brim  is  cut  at  the  back  and  caught  up  with  a 
large  bow  of  white  ribbon.  A  rosette  is  placed  over  the  right 
ear,  and  the  strings  tie  under  the  chin.  This  style  of  hat  was 
fashionable  from  1825  to  1830.  Our  illustration  is  copied  from 
an  original  hat  in  the  Wetherill  Collection  at  Memorial  Hall, 
Philadelphia. 

Bonnets  and  hats  were  very  much  alike  and  stood  up 
around  the  face.  Fur  boas  and  lace  scarfs  were  in  great  favour, 
and  the  hair  was  arranged  in  curls  on  the  temples. 

"Fair  tresses  man's  imperial  race  ensnare." 

t 

In  a  letter  of  invitation  (1827)  from  Mrs.  Mason  of  Washing- 


174 


HISTORIC  DEESS  IN  AMERICA 


ton  to  Miss  Chew  of  Philadelphia,  which  we  are  courteously 
permitted  to  quote,  is  the  following  advice  about  the  dresses  she 
should  bring  with  her  for  the  visit : 

"  Let  your  dress  for  the  wedding  be  as  simple  as  you  please. 
The  same  dress  you  wore  to  E.  Tucker's  wedding  will  be  much 
handsomer  than  any  you  will  find  here.  Virginia  will  wear  a 
white  crape  trimmed  with  large  white  satin  rouleaux  over  white 
satin,  the  same  dress   that   she  has  worn  at  all  the  parties 

she  has  attended  this  winter,  and  T  will  wear  a  plain  bobi- 

net  trimmed  with  a  lace  flounce  she  has  worked  for  herself.  I 
shall  wear  my  white  satin  which  is  still  decent.  Nobody  here 
will  make  dress  a  matter  of  moment,  and  your  wardrobe  will 
pass  unnoticed  and  unobserved  unless  you  bring  anything  very 
extravagant.  The  prettiest  dress  you  can  wear  at  the  grand 
occasion  will  be  a  white  book-muslin  trimmed  with  a  wreath 
of  white  flowers,  or  with  three  rows  of  plain  bobinet  quilled 
double  through  the  middle." 

In  Figure  63  and  in  the  initial  on  page  141  pictures  of 
two  costumes  worn  by  Miss  Chew  are  given,  but  the  date  is 
earlier  than  this  visit  to  Washington.  One  is  a  short  dancing 
frock  of  white  crape  over  a  slip  of  white  satin,  trimmed  with 
white  roses  with  tinsel  leaves.  The  other  is  a  beautifully  em- 
broidered India  muslin  made  with  a  high  bodice,  long  sleeves 
which  fall  over  the  hand,  and  a  very  long  train. 

It  is  interesting  to  know  that  Miss  Chew  made  the  journey 
in  her  father's  coach,  travelling  from  the  historic  house  of  Chief 
Justice  Chew,  Cliveden,  near  Philadelphia,  to  Washington  in 
three  days. 

A  charming  little  gown  of  pale  blue  gauze  trimmed  with 
satin  of  the  same  shade  is  given  in  Figure  64.  It  is  taken  from 
a  print  of  1828. 

Figure  61  shows  an  opera  costume,  cloak  of  silk  and  hat  of 


HISTORIC  DRESS  IN  AMERICA 


175 


black  velvet  trimmed  with  white  ostrich  plumes.  The  dress  is 
copied  from  one  of  white  satin  brocade  which  was  worn  in  Phil- 
adelphia in  1829. 

Another  dress  of  this  period  is  pictured  in  Figure  73.  It  is 
of  a  rich  yellow  brocade  and  was  worn  in  Philadelphia  by  Miss 
Mary  Brinton  about  1829.  The  trimming  is  all  made  of  the 
material  of  the  gown.  The  head  in  the  sketch  is  copied  from  a 
contemporary  portrait. 

Dress  does  not  seem  to  have  been  made  a  matter  of  moment 
in  the  histrionic  thought  of  that  time,  for  we  read  that  Fanny 
Kemble,  the  idol  of  the  English  stage,  on  which  she  made  her 
debut  in  1829,  represented  Juliet  in  a  fashionable  ball  dress  of 
white  satin  with  a  long  train,  short  sleeves  and  low  bodice,  a 
girdle  of  paste  brilliants  being  the  only  theatrical  property  of 
the  costume. 

At  the  time  of  Jackson's  election  (1829),  party  spirit  ran 
high  in  American  politics.  His  lady  partisans  were  to  be  dis- 
tinguished by  dresses  and  aprons  of  calico  imprinted  in  great 
medallions  with  the  very  unhandsome  head  of  their  hero. 
Specimens  of  the  Jackson  calico  may  be  seen  in  the  Historical 
Society  at  Newport,  Rhode  Island.  This  whim  of  fashion  re- 
calls to  mind  the  eighteen  tucks  in  the  white  dresses  of  Louis 
XVIII's  adherents  in  1815,  and  the  bunches  of  violets  worn  by 
the  admirers  of  Napoleon  at  the  same  time. 

On  the  occasion  of  Jackson's  inauguration,  we  read  of  a 
gorgeous  costume  of  scarlet  velvet,  richly  trimmed  with  gold 
embroidery,  worn  by  Mrs.  Bomford  ;  a  "  large  ruby,  for  which 
Colonel  Bomford  had  refused  five  thousand  dollars,"  in  her  tur- 
ban. 

It  was  at  this  period  that  Miss  Harriet  Martineau  made  her 
celebrated  visit  to  the  United  States  and  was  feted  and  enter- 
tained a  great  deal  in  Washington.    Having  been  invited  to 


176 


HISTORIC  DRESS  IN  AMERICA 


spend  a  "  sociable  day  "  with  a  lady  who  probably  thought  that 
form  of  hospitality  would  be  more  enjoyable  than  a  dinner 
party  to  the  distinguished  visitor  on  account  of  her  deafness, 
Miss  Martineau  and  her  companion,  Miss  Jeffrey,  arrived  quite 
early  and  were  shown  to  a  bedroom  to  take  off  their  "  bonnets 
and  long  capes." 

"  You  see,"  remarked  Miss  Martineau  to  her  hostess,  "  we 
have  complied  with  your  request  and  come  sociably  to  spend  the 
day.  We  have  been  walking  all  the  morning  and  our  lodgings 
are  too  distant  to  return  there,  so  we  have  done  as  those  who 
have  no  carriages  do  in  England  when  they  go  out  to  spend  the 
day." 

"  I  offered  her,"  observed  her  hostess,  "  combs  and  brushes, 
but  having  one  enormous  pocket  in  her  French  dress,  she  as- 
sured me  that  they  were  provided  with  all  that  was  necessary 
and  pulled  out  nice  little  silk  shoes,  silk  stockings,  scarf  for  her 
neck,  lace  mits,  a  gold  chain  and  some  other  jewelry,  and  soon 
without  changing  her  dress  was  prettily  equipped  for  dinner  or 
evening  company."  * 

This  is  the  first  record  we  find  of  a  pocket  in  a  gown,  but  we 
hope  it  was  not  without  precedent  in  America. 

The  hats  were  almost  as  remarkable  as  the  sleeves  as  will  be 
seen  in  the  illustrations  of  this  period.  Figure  274  shows  a 
very  quaint  specimen  in  the  Wetherill  collection.  It  is  made 
of  sage  green  taffeta  with  a  cross-bar  of  salmon  pink,  and  is 
corded  and  bound  with  pink  satin  ribbon.  The  date  given  is 
1829. 

The  Cabriolet  bonnets  shown  in  Figures  240,  241  and  244 
were  named  for  the  fashionable  carriage  of  the  day.  Both  of 
these  novelties  were  adopted  by  the  eccentric  Lady  Morgan  in 
1829.    In  a  recent  memoir  we  read  : 

*  First  Forty  Years  of  Washington  Sooiety,  by  Mrs.  Samuel  Harrison  Smith. 


HISTOEIC  DRESS  IN  AMERICA 


177 


"  It  was  never  known  where  this  vehicle  was  bought,  except 
that  Lady  Morgan  declared  it  came  from  the  first  carriage- 
builder  in  London.  In  shape  it  was  like  a  grasshopper,  as  well 
as  in  colour.  Very  high  and  very  springy,  with  enormous 
wheels,  it  was  difficult  to  get  into,  and  dangerous  to  get  out  of. 
Sir  Charles,  who  never  in  his  life  before  had  mounted  a  coach- 
box, was  persuaded  by  his  wife  to  drive  his  own  carriage.  He 
was  extremely  short-sighted,  and  wore  large  green  spectacles  out- 
of-doors.  His  costume  was  a  coat  much  trimmed  with  fur,  and 
heavily  braided.  James  Grant,  the  tall  Irish  footman,  in  the 
brightest  of  red  plush,  sat  beside  him,  his  office  being  to  jump 
down  whenever  anybody  was  knocked  down,  or  run  over,  for 
Sir  Charles  drove  as  it  pleased  God.  The  horse  was  mercifully 
a  very  quiet  animal,  and  much  too  small  for  the  carriage,  or  the 
mischief  would  have  been  worse.  Lady  Morgan,  in  the  large 
bonnet  of  the  period,  and  a  cloak  lined  with  fur  hanging  over 
the  back  of  the  carriage,  gave,  as  she  conceived,  the  crowning 
grace  to  a  neat  and  elegant  turn-out."  * 

A  contributor  to  the  "  National  Recorder  "  in  1829  paid  a 
graceful  tribute  to  women,  saying  : 

"  The  history  of  woman  is  the  history  of  the  improvements 
in  the  world.  Some  twenty  or  thirty  years  ago,  when  manual 
labour  performed  all  the  drudgery,  some  five,  six  or  seven  yards 
of  silk  or  muslin  or  gingham  would  suffice  for  the  flitting  and 
flirting  of  the  most  gay  and  volatile  of  the  sex.  But  as  soon  as 
the  powers  of  steam  are  applied,  and  labour  is  changed  from 
physical  to  intellectual,  the  ladies,  in  their  charitable  regard  for 
the  operative  class  of  the  community,  begin  to  devise  means  for 
their  continued  employment,  and  as  the  material  is  produced 
with  half  the  labour,  the  equilibrium  must  be  sustained  by  con- 
suming a  double  quantity." 

*  Little  Memoirs  of  the  Nineteenth  Century. 


1834-1860 

Figure  133. — 1834 — Hair  in  high  bow  knot.    From  a  portrait  of  Miss 
Lander. 

Figure  134. — Evening  dress  in  the  forties.    From  a  plate. 
Figure  135. — 1850 — House  dress.    From  a  portrait  of  Miss  Cary. 
Figure  136. — Extremes  of  fashion  in  the  forties.    From  a  plate. 
Figure  137. — Street  costumes  in  the  forties. 

Figure  138. — 1850 — Graceful  arrangement  of  hair.    From  a  portrait  of 

Empress  Eugenie. 
Figure  139. — Evening  dress  in  the  forties.    From  a  plate. 
Figure  140.— 1860— The  fashionable  "  waterfall' '  of  1860  and  after.  From 

a  portrait  of  Miss  Lane. 


HISTORIC  DRESS  IN  AMERICA 


181 


This  is  certainly  a  charitable  view  to  take  of  the  new  fashion 
of  very  full  skirts  and  leg-of-mutton  sleeves.  An  elaborate 
style  of  hair-dressing  came  in  at  that  time,  which  met  with  ap- 
proval on  the  same  grounds. 

"  I  knew  of  one  lady  who,  for  the  same  reason,  sported  a 
large  head  of  puffs  and  curls,  to  prove  that  she  not  only  encour- 
aged but  engaged  in  the  support  of  domestic  productions.  It 
does  seem  peculiarly  hard  that,  while  the  ladies  are  thus  carry- 
ing their  principles  into  practice,  even  at  the  expense  of  their 
loveliness,  they  should  have  to  encounter  the  sarcasm  and  the 
ridicule  of  the  other  sex.  Let  us  hope  that  they  will  not  be  dis- 
couraged in  their  endeavours  by  such  mean  and  inconsiderate 
abuse.  They  may  be  assured  that  there  are  those  who  duly  esti- 
mate their  motives  and  principles  and  who  respect  them  accord- 
ingly." 

We  do  not  notice  any  marked  change  in  riding  habits  in  the 
twenties,  but  riding  was  still  the  fashionable  exercise  and  we 
read  that  Fanny  Kemble  in  1829  wore  a  suit  of  brown  cloth 
with  a  red  waistcoat. 


Women's  Dress 


i 830-1 840 

'  Every  generation  laughs  at  the  old  fashion 
But  follows  religiously  the  new." 

— Thoeeau. 

HERE  were  not  any  very  marked  changes  in 
1830  in  the  style  and  cut  of  gowns.  Al- 
though the  skirts  were  somewhat  fuller  than 
they  had  been,  they  were  still  worn  short, 
and  elaborately  trimmed,  and  were  gathered 
at  the  waist  into  a  band,  which  was  hidden 
under  a  belt  made  broader  than  in  the 
previous  year  and  fastened  with  a  buckle 
in  front  (Figure  93). 

For  house  wear  the  shoulders  were  usu- 
ally uncovered,  the  bodices  being  finished  with  a  tucker  or  frill 
of  lace.  Out-of-doors  little  capes  or  pelerines,  either  matching 
the  dress  or  of  a  contrasting  colour,  were  worn  (Figures  90 
and  94). 

Cushions,  which  were  fastened  in  the  tops  of  sleeves  to  pro- 
duce the  desired  effect,  were  made  larger  and  larger.  The 
sketch  of  a  pair  of  these  sleeve-extenders,  made  of  brown 
cambric  and  filled  with  down,  is  given  in  Figure  82.  They  be- 
long to  the  Museum  of  the  School  of  Industrial  Art  in  Phila- 
delphia.   With  this  order  of  dress  waists  looked  proportionately 

slender.    Deep  collars,  sometimes  of  plain  linen  but  generally 

182 


• 

HISTOKIC  DRESS  IN  AMERICA 


1S3 


of  lace  or  needlework  embroidery  turned  down  round  the  neck, 
contributed  to  the  broad  effect.  Scarfs  of  cachemire,  silk  or 
lace  were  worn  universally. 

Hats  or  bonnets  still  were  of  the  Cabriolet  shape,  faced  with 
a  contrasting  silk,  and  trimmed  with  large  ribbon  bows,  and 
wide  strings  tying  under  the  chin  (Figures  87  and  123).  The 
crowns  were  high  and  sloped  upwards  when  on  the  head.  In 
Memorial  Hall,  Philadelphia,  may  be  seen  a  bonnet  of  1830 
made  of  white  silk  gauze  straw,  trimmed  with  white  gauze  rib- 
bon with  pale  yellow  and  green  figures.  A  sketch  of  this  bon- 
net is  given  in  Figure  276  and  in  Figure  293  a  picture  of  a 
Quaker  bonnet  of  white  silk  of  about  the  same  date,  shows 
a  modest  adaptation  of  the  fashion  from  1830-1840.  This 
bonnet  is  also  in  the  valuable  collection  at  Memorial  Hall. 
Feathers  were  still  worn,  many  bonnets  being  almost  overladen 
with  plumes.  A  wit  of  the  day  said  of  Lady  Cork,  then  over 
eighty  years  old,  that  she  resembled  "  a  shuttlecock,  for  she 
was  all  cork  and  feathers." 

In  1830  fashion  dictated  that  the  hair  should  be  worn  high, 
and  very  high  it  continued  throughout  that  period.  This  was 
undoubtedly  the  ugliest  style  of  hair-dressing  ever  introduced 
and  could  hardly  have  been  becoming  to  any  one,  but  the 
coquettish  bow-knots  and  rosettes  all  made  of  hair  would  have 
been  particularly  inappropriate  in  grey,  and  the  use  of  hair  dye 
became  very  popular  (Figures  73,  83,  121  and  133).  Fur  boas 
were  in  vogue  at  this  time  and  low  thin  slippers  still  pre- 
vailed for  all  occasions. 

A  letter  written  about  this  time  points  a  moral  on  the  sub- 
ject of  dyeing  the  hair. 

"  A  young  lady,  a  friend  of  mine  residing  in  the  same  house, 
found,  to  her  utter  dismay,  that  her  hair  was  becoming  grizzled. 
It  was  a  terrible  misfortune,  as  she  had  really  a  fine  head  of 


184 


HISTORIC  DRESS  IN  AMERICA 


hair,  and  false  curls  were  not,  at  that  time,  much  worn  ;  so  she 
had  no  need  or  excuse  for  substituting  other  hair  for  her  own, 
except  that  ugly  one,  growing  grey.  .  .  .  She  purchased, 
at  a  very  high  price,  a  bottle  of  '  Imperial  Hair  Restorer ' — I 
think  it  was  called,  or  some  such  sounding  name — '  warranted 
to  give  the  hair  a  beautiful  glossy  appearance,  and  restore  it  to 
its  pristine  colour  without  failure  or  danger.'  The  restorative 
was  plentifully  applied  and  in  two  days'  time  the  curls  of  the 
young  lady,  where  the  grey  hairs  had  chiefly  obtruded,  were 
changed  to  an  equivocal  hue,  bearing  a  near  resemblance  to  the 
dark  changeable  green  of  the  peacock's  feathers.  The  only 
truth  of  the  restorative  was  its  glossy  qualities.  The  hair  of 
the  unfortunate  young  lady  was  glossy  enough,  and  stiff  as 
bristles.  I  cannot  even  now,  though  several  years  have  passed, 
think  of  the  ludicrous  appearance  of  that  patent  coloured  hair, 
and  the  mirth  it  created  in  our  little  coterie,  without  laughing 
heartily." 

From  the  "  Lady's  Magazine,"  we  give  an  elaborate  full 
dress  :  "  The  skirt  is  of  blond  gauze.  The  sleeves  and  flounce 
are  richly  figured  with  a  pattern  in  white ;  but  the  bouquets 
embroidered  above  the  deep  flounce  are  in  the  most  delicate 
shades  of  French  blond.  The  corsage  is  of  white  satin,  made 
plain  and  tight  to  the  shape  both  in  the  back  and  front.  The 
short  beret  sleeves,  beneath  those  of  white  gauze,  are  of  white 
satin,  and  exceedingly  full.  The  long  sleeves  narrow  a  little 
towards  the  wrist,  but  were  never  made  fuller  at  the  top.  The 
belt  is  of  plain  satin,  corded  at  the  edges.  The  hem  of  the 
white  satin  dress  appears  below  the  flounce ;  it  is  very  much 
puffed,  so  as  to  give  a  great  richness  to  the  finish  of  the  costume. 
The  arrangement  of  the  hair  is  new  and  beautiful,  braids  are 
wound  over  one  high  bow,  with  two  folds.  A  delicate  silver 
sprig  is  the  sole  ornament  of  the  head,  excepting  a  long  silk 


HISTORIC  DRESS  IN  AMERICA 


185 


scarf,  which  is  gathered  slightly  on  the  top  of  the  bows  of 
the  hair  and  falls  on  each  side  nearly  as  low  as  the  knees.  The 
head-dress  is  called  en  barbe.  Necklace,  earrings  and  bracelets 
of  wrought  silver  and  gold.    Bouquet  of  spring  flowers." 

This  odd  arrangement  of  bow-knots  and  puffs  of  hair, 
which  we  notice  in  many  of  the  contemporary  portraits, 
was  obviously  very  difficult  to  adjust  without  artificial  aid.  In 
Figure  83  we  give  the  picture  of  a  cluster  of  curls  of  false  hair 
fastened  to  a  comb,  showing  an  easy  way  of  surmounting  the 
difficulty.  It  is  copied  from  the  original  article  in  the  School 
of  Industrial  Art,  in  Philadelphia. 

Another  fashionable  coiffure  is  given  in  the  following  de- 
scription of  a  ball  dress  :  "  Hair  braided  with  gold  beads,  in 
Grecian  bands,  and  a  low  coronet  and  large  knot,  ornamented 
with  plumes  or  silver  barley,  a  la  Ceres.  Dress  of  white  gauze 
lisse,  gathered  in  front  of  the  corsage  with  full  loose  folds. 
Underdress  of  deep  rose-coloured  satin  cL  la  Reine.  The 
epaulettes  and  the  bottom  of  the  lisse  robe  are  cut  into  square 
dents.  The  upper  dress  is  looped  up  on  the  left  side  to  the 
knees,  a  la  Taglioni,  with  bouquets  of  gold  barley.  The  rose- 
coloured  satin  skirt  is  finished  with  a  border  of  full  puffs  at  the 
feet.  Long  white  kid  gloves,  fan  embossed  with  gold  ;  necklace 
of  gold  medallions." 

And  here  is  another  description  of  hair  arrangement  for 
evening  dress  :  "  The  hair  is  banded  a  la  Greque,  small  knot  on 
the  crown,  from  which  depend  a  number  of  ringlets  a  la  Sevigne, 
and  is  ornamented  with  a  small  crown  of  field  flowers.  Dress  of 
crape  over  a  slip  of  satin  a  la  Reine ;  corsage  a  la  Roxalane, 
over  which  fall  very  pretty  reveres  and  epaulettes  of  satin. 
The  skirt  is  ornamented  with  a  wreath  of  cut  ribbands  a  la 
Taglioni,  fastened  on  the  right  with  a  few  large  satin  leaves  and 
ends  and  a  bunch  of  minute  field  flowers." 


1S6 


HISTORIC  DRESS  IN  AMERICA 


We  read  of  many  new  materials  and  colours.  A  pelisse  is 
described  of  gros  de  Tours  in  bleu  de  Berry,  embroidered  down 
the  front,  which  opened  part  way  showing  the  underdress.  It 
was  close-fitting  and  finished  with  a  double  pelerine  embroidered 
to  match  the  fronts.  The  sleeves  were  finished  with  a  plain 
tight  cuff  also  embroidered.  With  this  was  worn  a  gros  de 
Naples  bonnet,  the  colour  "  a  new  shade  of  vapeitr,"  trimmed 
with  knots  and  bows  of  pink  gauze  ribbon.  These  materials 
and  colours  are  probably  known  to-day  by  different  and  less 
fanciful  names. 

The  following  dress,  which  sounds  unusually  pretty,  is 
described  in  a  contemporary  magazine  : 

"  Evening  Dress. — A  straw-coloured  crape  dress  over  a  gros 
de  Naples  slip  to  match.  Corsage  cut  low  and  square,  and 
trimmed  with  a  falling  tucker  of  blonde  de  Cambray.  Beret 
sleeve,  finished  en  manchette,  with  the  same  sort  of  lace  ;  a  noeud 
of  gauze  ribband,  to  correspond  in  colour,  is  placed  in  front  of 
the  arm.  The  skirt  is  trimmed  with  a  flounce  of  blonde  de 
Cambray,  headed  by  a  cluster  of  narrow  rouleaux  of  satin  to 
match  the  dress.  The  trimming  is  raised  a  little  on  the  left 
side,  and  finished  with  a  single  flower  with  buds  and  foliage. 
With  this  is  worn  a  crape  hat  of  a  darker  shade  than  the  dress. 
The  brim  faced  with  gauze  ribband.  The  crown  trimmed  with 
white  feathers  placed  in  different  directions  ;  some  are  passed 
through  openings  made  in  the  brim,  and  partially  shade  it. 
The  jewelry  worn  with  this  dress  should  be  a  mixture  of  gold 
and  pearls." 

Here  is  another  Evening  Dress. — "A  changeable  gros  de 
Naples ;  the  colours  blue  shot  with  white.  The  corsage  is  cut 
very  low,  fits  close  to  the  shape,  and  is  ornamented  in  front  of 
the  bust  in  the  fan  style  with  satin  rouleaux  to  correspond  with 
the  dress.    A  trimming  of  rich  fringe,  the  head  of  which  is 


HISTORIC  DEESS  IN  AMERICA 


187 


composed  of  beads  and  the  remaining  part  of  chenille,  goes 
round  the  bust.  The  ceinture  fastens  behind  in  a  rosette  with  a 
richly-wrought  gold  clasp  in  the  centre.  Beret  sleeves,  the 
shortest  we  have  seen." 

Two  pretty  dresses  are  described  by  a  contemporary  London 
correspondent  in  1830  : 

"  Ball  Dress. — White  blond  gauze  over  a  pale  pink  satin 
slip  ;  from  a  blush  rose  on  each  shoulder  a  pink  ribbon  is 
draped  and  caught  under  another  blush  rose  above  the  centre  of 
a  pink  satin  belt.  The  skirt  is  trimmed  with  blush  roses,  joined 
by  a  loop  of  pink  satin  above  the  hem.  The  hair  is  arranged  in 
large  Madonna  curls,  which  are  somewhat  drawn  up  and  height- 
ened by  a  wreath  of  blush  roses  with  leaves. 

"  Dinner  and  Carriage  Dress. — Hat  of  rice  straw,  trimmed 
with  bunches  of  pink  azalea.  Ribbons  of  light  green,  shaded 
a  milles  rayes,  the  stripes  very  minute,  and  shot  with  white. 
The  dress  is  of  soft  gros  de  Naples  of  prismatic  rose  colour,  the 
lights  of  which  are  bright  lilac.  Many  other  varieties  of  colour 
in  shot  silk  are  used,  but  this  is  a  favourite.  The  corsage  is 
made  with  large  horizontal  plaits,  confined  up  the  front  with  a 
band.  The  shoulders  are  trimmed  with  three  falls  of  silk,  the 
edges  worked  in  loose  floss  silk  into  small  points  ;  these  falls 
are  seen  one  below  the  other,  and  narrow  until  they  meet  in 
front  under  the  belt,  which  is  broad  and  made  of  the  same 
material  as  the  dress.  The  sleeves  are  full  at  top,  and  are 
plaited  under  a  band  at  the  elbow  and  to  correspond  at  the 
wrist." 

An  issue  of  the  "  Lady's  Book  "  (1830)  announced  the 
following : 

"  Fashions  for  October. — A  frock  of  changeable  gros  de  zane, 
the  body  plain  behind  and  full  in  front,  worn  occasionally  with 
a  pelerine  of  the  same ;  the  frill  of  which  is  very  deep  and  full 


1824-1835 

Figuee  141. — 1824 — Gentleman  in  court  dress  trimmed  with  gold  lace  ; — 
blue  coat,  white  trousers  and  waistcoat.    From  a  contemporary  plate. 

Figuee  142. — 1825 — Dress  of  white  satiu  trimmed  with  cerise  gauze,  worn 
at  a  ball  given  for  La  Fayette  at  Baltimore  in  1825.  On  the  back  of 
each  glove  was  painted  a  head  of  the  distinguished  visitor  to  match  the 
badge  worn  on  the  left  breast.  This  interesting  costume  was  worn  by 
Miss  Amanda  Nace. 

Figuee  143. — 1826 — Gentleman  in  top-coat  of  drab  cloth  and  hat  of  black 
beaver.    From  an  old  print.    Head  from  a  portrait  of  1826. 

Figuee  144. — 1829 — White  gauze  dress  with  satin  stripes,  worn  in  Phila- 
delphia by  Miss  Elizabeth  Smith  in  1829.  Head  copied  from  a  con- 
temporary portrait. 

Figuee  145. — 1830 — A  summer  walking  dress  of  embroidered  muslin  with 
trimmings  of  blue  ribbon.    Taken  from  a  plate  of  1830. 

Figuee  146. — 1835— Gentleman  in  street  dress  of  1835  ;  brown  coat  and 
waistcoat  and  drab  trousers.    Taken  from  a  print  of  that  date. 

Figuee  147. — 1833 — Eepresents  a  lady  in  a  figured  chintz  morning  dress, 
from  a  print  of  this  date.  The  apron  of  blue  silk  was  worn  in  Phila- 
delphia about  this  time. 

Figuee  148. — 1830— Gentleman  in  walking  dress  of  1830,  with  green  suit 
and  drab-coloured  hat. 


HISTORIC  DRESS  IN  AMERICA 


191 


at  the  shoulders,  becoming  gradually  narrower  and  plainer  as  it 
descends  to  the  belt.  The  skirt  of  this  dress  is  made  extremely 
wide,  and  is  set  on  the  body  with  five  plaits  only,  one  in  front, 
one  on  each  side,  and  two  behind  :  these  plaits  are  of  course 
very  large.  The  bottom  of  the  skirt  is  finished  with  a  thick 
cord  sewed  into  the  hem.  The  sleeves  are  very  wide,  till  they 
reach  the  elbow,  and  fit  tightly  to  the  lower  part  of  the  arm. 
The  ruffle  round  the  neck  and  hands  is  of  plain  bobinet  quill- 
ing. Bonnet  of  Dunstable  straw  trimmed  with  a  band,  and 
strings  of  broad  pink  satin  ribbon.  Large  scarlet  shawl  of 
embroidered  Canton  crape." 

Mrs.  Hale,  in  the  "  Lady's  Magazine,"  gives  advice  on  the 
subject  of  corsets  : 

"  Corsets  should  be  made  of  smooth  soft  elastic  materials. 

"  They  should  be  accurately  fitted  and  modified  to  suit  the 
peculiarities  of  figure  of  each  wearer. 

"  No  other  stiffening  should  be  used  but  that  of  quilting,  or 
padding ;  the  bones,  steel,  etc.,  should  be  left  to  the  deformed 
and  the  diseased  for  whom  they  were  originally  intended. 

"  Corsets  should  never  be  drawn  so  tight  as  to  impede  regular 
natural  breathing,  as,  under  all  circumstances,  the  improvement 
of  figure  is  insufficient  to  compensate  for  the  air  of  awkward 
restraint  caused  by  such  lacing. 

"They  should  never  be  worn,  either  loose  or  tight,  during 
the  hours  appropriate  to  sleep,  as  by  impeding  respiration  and 
accumulating  the  heat  of  the  system  improperly,  they  invariably 
injure. 

"  The  corset  for  young  persons  should  be  of  the  most  simple 
character,  and  worn  in  the  lightest  and  easiest  manner,  allowing 
their  lungs  full  play,  and  giving  the  form  its  fullest  opportunity 
for  expansion." 

Tlie  extreme  of  fashion  was  not  always  adopted  in  America. 


192 


HISTORIC  DRESS  IN  AMERICA 


In  Figure  86  we  give  a  sketch  of  a  simple  costume  of  brown 
taffeta  with  leg-of-mutton  sleeves  of  modern  dimensions  which 
was  worn  in  Philadelphia  in  1830.  The  hair  is  arranged  in  a 
simple  but  dignified  coil  of  braids  copied  from  a  contemporary 
portrait.  An  illustration  of  a  bonnet  of  this  period  (1830)  of 
moderate  size  is  given  in  Figure  275.  It  is  made  of  fancy 
Tuscan  straw  and  trimmed  with  white  ribbon,  and  belongs  to 
the  Wetherill  collection  at  Memorial  Hall,  Philadelphia, 

Riding  has  always  been  a  favourite  form  of  exercise  in  Eng- 
land and  considered  an  essential  part  of  a  young  lady's  educa- 
tion. Undoubtedly  it  was  an  Englishman  who  penned  the  fol- 
lowing tribute  : 

"  How  melts  my  beating  heart  as  I  behold 
Each  lovely  uymph,  our  island's  boast  and  pride, 
Push  on  the  generous  steed  that  sweeps  along 
O'er  rough,  o'er  smooth,  nor  heeds  the  steepy  hill, 
Nor  falters  in  the  extended  vale  below." 

But  it  was  by  no  means  a  lost  art  on  this  side  of  the  Atlantic 
and  was  probably  only  less  in  vogue  in  the  large  cities.  At  this 
period  of  the  thirties,  habits  as  well  as  hats  were  more  severe  in 
outline,  and  rather  conspicuous  for  the  absence  of  trimmings. 
Not  only  were  they  more  suitable  for  their  purpose  than  the 
equestrian  fashions  of  the  early  part  of  the  century,  but  infi- 
nitely more  becoming  with  their  short  jackets  outlining  the 
waist.  Figure  116  represents  a  habit  from  a  plate  of  1830,  in 
which  the  effect  of  the  mannish  hat  is  softened  by  a  flowing 
veil.  Perhaps  it  was  the  change  of  fashion  which  inspired  the 
following  lines  : 

"  Her  dress,  her  shape,  her  matchless  grace 
Were  all  observed,  as  well  as  heavenly  face." 

In  the  reign  of  William  IV  we  read  of  the  Marchioness  of 
Salisbury,  a  prominent  personage  of  the  time,  that  she  was  a 


HISTORIC  DEESS  IN  AMERICA 


193 


fearless  horsewoman,  and  hunted  with  the  Hatfield  hounds  in 
1831,  riding  hard  and  clearing  fences  as  ardently  as  any  sports- 
man in  the  field,  clad  in  "  a  habit  of  light  blue  cloth  with  a 
black  velvet  collar  and  a  jockey  cap  ; "  and  that  when  she  was 
an  old  lady  of  eighty  years  and  very  feeble,  she  had  herself 
strapped  into  her  saddle,  and  ambled  up  and  down  Hyde  Park 
in  the  midst  of  the  moving  throng.  Locker,  in  his  verses  on 
"  Rotten  Row,"  laments  : 

"But  where  is  now  the  courtly  troop 
That  once  rode  laughing  by  ? 
I  miss  the  curls  of  Cantilupe 
The  smile  of  Lady  Di." 

Specimens  of  the  very  large  bonnets  worn  in  1830-40  are 
given  in  Figures  87,  123,  and  276  ;  also  in  the  initial  on  page  182. 

Shawls  were  so  much  worn  at  that  time,  both  genuine  India 
cachemire  and  imitations  thereof  made  in  France,  that  it  may 
be  of  interest  to  readers  to  know  something  of  their  manufac- 
ture and  the  origin  of  the  strange  names  of  the  different  varie- 
ties, for  like  the  oriental  rugs  each  design  had  a  symbolic 
meaning. 

"Not  a  vanity  is  given  in  vain." 

According  to  an  article  on  the  manufacture  of  cachemire 
shawls,  nearly  "  5,000  people  were  employed  in  making  them 
in  1831.  About  three  weavers  were  kept  at  work  in  each  shop, 
and  when  the  pattern  was  especially  fine  they  could  not  make 
more  than  a  quarter  of  an  inch  a  day,  so  that  the  most  elabo- 
rate shawls  were  made  in  pieces.  The  weaver  was  seated  on  a 
bench  and  a  child  placed  a  little  below  him  with  its  eyes  fixed 
on  the  pattern,  who  every  time  the  frame  was  turned  told  the 
weaver  the  colours  wanted.  The  wages  of  first-rate  workmen 
were  from  four  to  five  pence,  and  the  child  labour  it  is  to  be 


194 


HISTORIC  DRESS  IN  AMERICA 


feared  counted  for  nothing.  The  pattern  familiar  to  us  as  the 
palm-leaf  is  not  a  palm  of  the  desert,  but  the  cypress,  the 
lover's  tree  among  the  orientals,  which  is  sculptured  on  the 
ruins  of  the  palace  of  Persepolis  exactly  as  it  is  figured  on  the 
shawl  borders.  The  cypress  adorns  the  border  of  a  shawl,  even 
as  the  tree  itself  overshadows  the  bank  of  a  stream  ;  and  is  con- 
sidered by  the  Easterns  as  the  image  of  religion  and  moral  free- 
dom, as  Saadi  has  expressed  in  verse: 

"  1  Be  thou  fruitful  as  the  palm,  or  be 

At  least  as  the  dark  cypress,  high  and  free/ 

because  its  branches  never  incline  to  the  earth,  but  all  shoot  up- 
ward towards  heaven. 

"  The  original  meaning  of  the  wreaths  and  bunches  of  flow- 
ers woven  in  the  middle  of  the  square  shawl  pieces,  and  which 
so  greatly  enhance  their  value,  is  full  of  significance.  The 
Turkish  and  Persian  name  of  these  shawls  is  Boghdscha ;  the 
origin  of  the  word  is,  however,  neither  Turkish  nor  Persian,  but 
Indian,  from  Pudscha,  which  means  a  flower  offering.  When 
the  season  of  the  year  will  not  afford  the  flowers  which  the 
Hindoos  offer  to  their  gods,  the  women  spread  out  shawls,  in  the 
middle  of  which  the  embroidered  basket  of  flowers  supplies  the 
place  of  fresh  blossoms ;  on  this  they  kneel,  as  do  the  Moslems 
on  the  little  carpets  which  exhibit  a  representation  of  the  altar 
in  the  holy  temple  of  Mecca,  towards  which  they  turn  when 
they  pray.  The  Boghdscha,  or  square  shawl,  with  the  flower- 
basket  in  the  centre,  may  here  take  precedence  of  the  other 
kinds,  from  the  superiority  of  its  original  destination,  rather 
than  from  its  commercial  value;  for,  in  this  respect,  it  is  usually 
surpassed  by  the  long  scarf  shawls,  which  are  commonly  de- 
nominated Risajii.  A  third  class  of  shawls  are  woven  without 
flowers  or  borders  and  are  generally  made  into  dresses  by  the 


HISTORIC  DRESS  IN  AMERICA 


195 


women  ;  these  are  called  Toulik.  In  the  shops  and  warehouses 
where  the  shawls  are  first  sold,  they  are  called  Kaschmiri  or 
Lahori,  according  as  they  are  the  produce  of  Kaschmire  or 
Lahor.  The  imitations  of  them,  whether  they  come  from  Bag- 
dad, Paris,  or  London,  are  all  called  Taklid,  i.  e.,  imitations. 
The  workshops  of  Kaschmire  have  very  lately  produced  some 
splendid  shawls,  which  are  always  marked  with  the  word  new- 
tash,  signifying  new-fashioned.  The  patterns  of  these  represent 
banners,  pinnacles,  chains,  peacock's  feathers,  etc. ;  they  are  de- 
nominated in  Persian,  Alemdar  (containing  banners)  ;  Kun- 
keredar  (containing  pinnacles) ;  Koeschedar  (having  corners  if 
the  corners  are  ornamented) ;  Lilsiledar  (containing  chains)  ; 
Peri-taus  (peacock-winged) ;  etc.  These  denominations  are  fre- 
quently worked  on  the  shawls  with  coloured  silk  ;  the  name  of 
the  manufacturer  is  also  generally  inscribed  on  them,  and  very 
often  the  epithets  of  God  ;  as,  O  preserver  !  O  protector  !  be  a 
blessing  granted  to  us !  and  single  letters,  which  form  the  word 
Ahmed,  or  Mohammed,  or  some  talismanic  word  with  the  ad- 
dition of  Allah,  Allah,  '  the  highest,  the  highest '  (of  the  best 
quality)." 

tl  I  long  not  for  rich  silks  or  satins, 
My  mind  is  contented  with  the  schal  and  woollen  stuff,' 

is  the  illustration  given  in  the  Persian  Dictionary  for  the  word 
shawl. 

A  decided  change  in  the  style  of  dressing  the  hair  is 
noticed  in  1832.  "  The  low  Grecian  arrangement  in  the  severe 
classic  taste  of  the  antique,  is  universally  adopted  by  ladies 
whose  profile  will  admit  of  this  often  most  becoming  style. 
Coronets  of  pearls,  cameos,  or  flowers  are  worn  very  low  on  the 
brow.  Gold  beads  or  pearls  are  woven  with  the  braided  hair. 
The  high  gallery  shell  combs  are  now  considered  vulgar.  In 


196 


HISTORIC  DRESS  IN  AMERICA 


place  of  carved  shell  combs,  gold  combs,  on  which  four  or 
five  classic  cameos  are  arranged  en  couronne,  are  worn  in  full 
dress." 

An  English  contemporary  authority  says  :  "  The  last  week 
has  produced  a  novelty  in  evening  dress,  the  adoption  of 
natural  flowers  for  the  hair.  Wires  are  made  to  support  them 
invisibly.  The  flowers,  which  are  not  wreathed  in  the  hair  till 
the  moment  of  departure  for  the  ball  or  soiree,  are  found  to 
retain  their  freshness  during  several  hours.  This  fashion  has 
been  revived  from  the  last  century,  when  little  vases  were  made 
on  purpose  to  contain  a  few  drops  of  water,  and  were  hid 
among  the  hair,  with  the  stalks  of  the  flowers  inserted  in 
them."  * 

Another  style  of  hair-dressing  which  was  probably  more 
generally  becoming,  as  it  remained  in  fashion  much  longer, 
was  a  Grecian  knot  worn  high  in  the  back,  the  front  hair 
parted  and  arranged  in  soft  curls  on  the  temples.  (See  Figures 
72  and  230.) 

Black  velvet  came  into  fashion  for  trimmings,  for  belts,  and 
for  wristlets,  in  1832,  and  has  been  more  or  less  in  favour  ever 
since.  We  read,  too,  of  sleeves  made  plain  to  the  elbow  and 
very  full  above. 

It  was  in  1832  that  Mrs.  Trollope  visited  the  United  States 
and  on  her  return  to  England  published  an  ill-natured  book 
entitled  "  Domestic  Manners  of  the  Americans."  She  dwells 
at  length  on  the  unhappy  partiality  for  false  hair,  forgetting 
that  the  fashion  prescribed  in  Paris  was  exceedingly  popular 
in  London.  Her  remarks  are  shrewd,  however,  and  sometimes 
amusing,  for  instance  :  "  Though  the  expense  of  the  lady's  dress 
greatly  exceeds,  in  proportion  to  their  general  style  of  living, 
that  of  the  ladies  of  Europe,  it  is  very  far  (excepting  in  Phila- 

*  Royal  Lady's  Magazine. 


HISTORIC  DRESS  IN  AMERICA 


197 


delphia)  from  being  in  good  taste.  They  do  not  consult  the 
seasons  in  the  colours  or  in  the  style  of  their  costume  ;  I  have 
often  shivered  at  seeing  a  young  beauty  picking  her  way 
through  the  snow  with  a  pale  rose-coloured  bonnet,  set  on  the 
very  top  of  her  head.  I  knew  one  young  lady  whose  pretty 
little  ear  was  actually  frost-bitten  from  being  thus  exposed. 
They  never  wear  muffs  or  boots,  and  appear  extremely  shocked 
at  the  sight  of  comfortable  walking  shoes  and  cotton  stockings, 
even  when  they  have  to  step  to  their  sleighs  over  ice  and  snow. 
They  walk  in  the  middle  of  winter  with  their  poor  little  toes 
pinched  into  a  miniature  slipper,  incapable  of  excluding  as 
much  moisture  as  might  bedew  a  primrose.  I  must  say  in 
their  excuse,  however,  that  they  have,  almost  universally, 
extremely  pretty  feet.  They  do  not  walk  well,  nor,  in  fact,  do 
they  ever  appear  to  advantage  when  in  movement.  I  know 
not  why  this  should  be,  for  they  have  abundance  of  French 
dancing-masters  among  them,  but  somehow  or  other  it  is  the 
fact." 

In  Figure  75  is  a  specimen  of  fashion  in  America  in  1832. 
The  original  dress  from  which  the  sketch  was  made  is  a  beauti- 
ful shade  of  blue-green  taffeta  trimmed  with  folds  of  itself. 
The  cape  and  long  undersleeves  could  be  taken  off  indoors, 
but  were  always  worn  in  the  street.  It  belonged  to  a  belle  of 
the  thirties,  noted  for  her  graceful  carriage.  The  bonnet, 
copied  from  a  print  of  1833,  is  of  white  chip  trimmed  with 
white  satin  and  pale  pink  daisies.  The  dress  apron  in  Figure 
89  belonged  to  the  same  lady  and  was  worn  in  1833.  It  is 
made  of  old  gold  satin,  embroidered  in  flowers  of  all  colours  ; 
roses  of  pink  chiffon,  pansies  of  arasene  (or  chenille),  small 
roses  of  chiffon,  forget-me-nots  (pink  and  blue)  and  jonquils  of 
chiffon,  green  stems  and  leaves  of  arasene,  and  other  small 
flowers  of  chiffon. 


1850-1857 

Figure  149. — 1850— Dress  of  grey  barege  with  bonnet  of  fancy  straw 

trimmed  with  white  ribbon. 
Figure  150. — 1850 — Back  of  bonnet  in  Figure  149. 
Figure  152. — 1851 — Mrs.  Bloomer  in  the  costume  she  invented. 
Figure  153. — 1857 — Caricature  of  the  fashions  from  "Punch,"  showing 

hoop-skirt  made  of  reeds  and  muslin. 
Figure  154. — 1855 — Hoop-skirt  of  steel  wires  covered  with  webbing. 

Worn  in  Philadelphia  1850-1855. 
Figure  155. — 1850 — Basque  of  pink  silk  with  a  Chine  stripe  of  roses, 

trimmed  with  pink  and  white  fringe  and  bows  of  ribbon  to  match. 
Figure  156. — 1850 — Back  view  of  pink  cashmere  peignoir  in  Figure  271. 

Cap  from  contemporary  print. 


HISTORIC  DRESS  IN  AMERICA 


201 


A  charming  old  bonnet  of  1833  is  preserved  in  the  Dutihl 
collection  at  Memorial  Hall,  made  of  white  point  d' esprit  over 
white  silk,  with  trimmings  of  white  ribbon  with  a  satin  spot 
and  a  loop  edge.  The  crown,  is  stiff  and  the  brim  is  formed  of 
slender  wires  and  lined  with  sarsnet.  A  picture  of  this  bonnet 
is  given  in  Figure  278. 

White  satin  was  still  a  favourite  material  for  evening  dresses 
in  1834.  A  lady  writes  from  Washington:  "I  was  gratified 
by  Julia's  good  looks.  She  was  dressed  in  plain  white  satin, 
and  pink  and  white  flowers  on  her  head.  Her  hair  was  ar- 
ranged by  a  hair-dresser." 

Bodices  for  evening  wear  were  made  close  fitting  to  the 
figure,  and  generally  were  trimmed  with  a  bertha  of  lace  or 
gauze.  The  sleeves  were  short  and  puffed,  and  gloves  were 
worn  reaching  to  the  elbow.  As  for  the  hair-dressers'  work, 
specimens  of  the  prevailing  styles  are  given  in  Figures  72,  73, 
86  and  230. 

A  beautiful  wedding  dress,  worn  by  a  Quaker  bride  in 
Philadelphia  in  1834,  is  sketched  in  Figure  72.  It  is  of  white 
satin  with  short  puffed  (melon)  sleeves,  over  which  are  full  long 
sleeves  of  white  silk  gauze,  fastening  at  the  wrist. 

Pelisses  of  velvet  and  satin,  closed  down  the  front,  and  made 
with  double  pelerines,  completely  disguising  the  figure,  were  in 
great  favour  in  the  autumn  of  1834.  Bonnets  were  even  larger 
and  more  flaring  than  before.  Some  of  the  latest  were  made  of 
velvet  and  trimmed  with  a  single  large  rosette  of  ribbon  to 
match.  Morning  dresses  were  made  of  cashmere,  and  chintz 
robes  printed  in  colour  were  popular.  They  were  made  with 
plain  high  bodices  and  fastened  up  the  back.  Shoulder  capes 
were  much  worn  with  low  or  square  cut  bodices  in  the  morn- 
ings. Large  bonnets  were  a  distinctive  feature  of  costume  in 
the  thirties  ;  the  flaring  brim  lined  with  a  becoming  tint  was 


2<>2 


HISTORIC  DRESS  IN  AMERICA 


surely  an  appropriate  frame  for  a  young  face,  and  attractive  in- 
deed must  have  been  Miss  Wilkins'  *  heroine  in 

"  Her  Bonnet 
"  When  meeting  bells  began  to  toll 
And  pious  folk  began  to  pass, 
She  deftly  tied  her  bonnet  on, 
The  little  sober  meeting  lass, 
All  in  her  neat  white  curtained  room  before  her 
tiny  looking  glass. 

"  So  nicely  round  her  lady-cheeks 
She  smoothed  her  bands  of  glossy  hair, 
And  innocently  wondered  if 
Her  bonnet  did  not  make  her  fair  ; 
Then  sternly  chid  her  foolish  heart  for  harbour- 
ing such  fancies  there. 

*'  So  square  she  tied  the  satin  strings, 
And  set  the  bows  beneath  her  chin  ; 
Then  smiled  to  see  how  sweet  she  looked, 
Then  thought  her  vanity  a  sin, 
And  she  must  put  such  thoughts  away  before 
the  sermon  should  begin. 

"  But  sitting  'neath  the  preacher's  word, 
Demurely  in  her  father's  pew, 
She  thought  about  her  bonnet  still, 
Yes,  all  the  parson's  sermon  through, 
About  the  pretty  bows  and  buds  which  better 
than  the  text  she  knew. 

"  Yet  sitting  there  with  peaceful  face, 
The  reflex  of  her  simple  soul, 
She  looked  to  be  a  very  saint 
And  maybe  was  one  on  the  whole, 
Only  that  her  pretty  bonnet  kept  away  the  aureole." 

The  bonnet  referred  to  in  the  following  verse  must  have  been 
especially  attractive : 

*  Mrs.  Mary  Wilkins  Freeman. 


HISTORIC  DRESS  IN  AMERICA 


"The  Love  Knot 
"  Tying  her  bonnet  under  her  chin, 
She  tied  her  raven  ringlets  in  ; 
But  not  alone  in  its  silken  snare 
Did  she  catch  her  lovely  floating  hair, 
For  tying  her  bonnet  under  her  chin, 
She  tied  a  young  man's  heart  within." 

Mantles  trimmed  and  lined  with  fur  were  very  fashionable. 
Sable,  Isabella  bear  and  a  delicate  fur  called  Kolinski  were  all 
used.  A  silk  cord  fastened  the  mantle  at  the  waist  and  hung 
clown  low  in  front,  finished  with  a  handsome  tassel.  Olives 
and  Brandenburgs  were  used  as  fastenings  on  velvet  pelisses. 
Sleeves  were  very  wide  from  the  shoulder  to  the  wrist  and  there 
finished  with  a  deep  cuff.  Satin  bonnets  were  trimmed  with 
satin  ribbon  to  match  and  bordered  by  curtain  veils  of  rich 
black  lace.  The  curtains  at  the  back  were  very  shallow  and 
moderately  full. 

Among  the  new  materials  of  the  year  were  Persian  taffeta 
with  milk  white  or  cream  white  ground,  covered  with  small 
bouquets  of  roses  and  satin  moyenage  with  a  dark  blue  ground 
and  an  arabesque  pattern  in  gold,  or  black  with  red  figures.  A 
new  design  for  bodices  was  cut  high  at  the  throat,  the  front  laid 
in  plaits  from  the  shoulder  to  the  waist,  like  a  fan.  Long  full 
sleeves  caught  in  with  two  bands  giving  the  effect  of  three  puffs. 
The  short  puffed  sleeves  of  1835  were  called  melon  sleeves ;  over 
them  long  sleeves  of  blond  lace  were  sometimes  worn.  In  a 
fashion  column  of  the  "  Court  Magazine "  for  July,  1835,  we 
read  :  "  Lightness  and  simplicity  are  this  month's  character- 
istics, but  it  is  a  simplicity  as  expensive  as  it  is  tasteful  ;  the 
rich  satins,  velvets  and  furs  of  winter  costumes  were  not  in 
reality  more  costly  than  the  comparatively  plain  attire  of  the 
present  month." 

Very  dainty  but  costly  must  have  been  the  'peignoir  described 


204 


HISTORIC  DRESS  IN"  AMERICA 


for  that  month,  made  of  French  cambric  trimmed  down  the 
front  with  a  deep  ruffle  of  Valenciennes  lace  caught  together  at 
intervals  by  knots  of  the  cambric  edged  with  lace.  The  pelerine 
or  shoulder  cape  was  also  trimmed  with  Valenciennes.  We 
read  about  this  time  of  a  new  Swiss  muslin,  with  rich  foulard 
patterns  stamped  on  it.  The  bonnets  and  hats  were  enormously 
big  in  1835.  The  brims  were  wider,  the  crowns  were  higher, 
and  the  curtains  of  bonnets  were  deeper.  Veils  of  blond,  illu- 
sion, or  dentelle  de  soie  were  fastened  to  the  brims  of  some  of  the 
newest  bonnets. 

We  hear  at  this  time  of  a  new  ribbon.  It  was  of  six  differ- 
ent colours  very  tastefully  mingled,  in  patterns  of  a  rather 
bizarre  effect,  and  was  called  Chinese  ribbon.  Flowers  of  all 
kinds,  as  well  as  feathers,  were  worn  in  hats.  Printed  cambrics, 
figured  organdies,  mousseline  de  laine  and  delicate  lingerie  con- 
tinued in  favour,  and  fichus  of  mull  and  lace  were  still  very 
popular.  One  striking  novelty  is  recorded  for  this  year  (1835)  : 
gloves  of  rose-colour  and  of  flesh-colour  were  preferred  to  white. 

Turbans,  although  not  as  generally  popular  as  they  had 
been,  were  still  worn.  A  new  style  was  called  the  turban 
ci  la  juive.  It  was  made  of  white  satin  covered  with  tulle  and 
ornamented  with  bandalettes  a  I'antique,  embroidered  with  gold, 
and  hanging  down  in  the  back  almost  to  the  neck.  Another 
turban  worn  in  that  same  year  is  described  as  "  of  the  Turkish 
form  "  and  as  made  of  white  net  and  maize  coloured  velvet,  or- 
namented with  two  aigrettes  held  in  place  by  a  gold  ornament 
set  with  brilliants. 

A  popular  American  periodical  which  first  appeared  in 
1830,  and  had  a  wide  circulation,  was  the  "  Lady's  Book,"  pub- 
lished by  Louis  Godey  in  Philadelphia.  It  was  founded  on 
somewhat  the  same  basis  as  the  "  Court  Magazine  "  in  London, 
containing  serial  stories  and  verses  by  recognized  authors  of  the 


IIISTOEIC  DRESS  IN  AMERICA 


2()5 


day,  as  well  as  fashion  plates  in  colour.  Two  evening  costumes 
for  1835  are  described  in  the  September  number  : 

"  A  printed  satin  robe,  white  ground  with  a  pattern  in  vivid 
colours  of  small  sprigs  in  winding  columns.  The  corsage  is  cut 
very  low  and  square  at  the  back  and  front  of  the  bust,  but 
rather  higher  on  the  shoulder  than  they  are  generally  made, 
and  pointed  at  the  waist.  It  is  trimmed  round  the  top  with  a 
single  row  of  narrow  blond  lace  laid  on  flat.  Blond  lace  long 
sleeves  of  the  usual  size  at  the  top,  and  moderately  full  from 
the  elbow  to  the  wrist ;  they  are  made  open  from  the  bend  of 
the  arm,  but  are  caught  together  in  three  places  by  gold  filagree 
buttons,  and  surmounted  by  mancherons  of  broad  blond  lace. 
The  hair,  parted  on  the  forehead,  is  arranged  on  each  side  in  a 
plaited  band,  which  is  doubled  and  hangs  low.  The  back  hair, 
also  arranged  in  a  braid,  is  twisted  round  the  top  of  the  head. 
Gold  earrings,  necklace  and  bracelets.  White  kid  gloves ; 
white  satin  slippers. 

"  A  robe  of  pale  rose-coloured  mousseline  de  soie  over  gros  de 
Naples  to  correspond.  A  low  corsage  fitting  close  but  with  a  lit- 
tle fullness  at  the  bottom  of  the  waist ;  trimmed  round  the 
neck  with  a  blond  lace  ruche.  Short  undersleeves  of  white 
gros  de  Naples,  with  an  oversleeve  of  blond  lace  of  the  Marino 
Faliero  shape  confined  by  a  gold  agraffe  on  the  shoulder. 
Armlets  and  ceinture  of  gold  net,  with  gold  clasps.  The  hair  is 
parted  on  the  forehead  and  turned  up  behind  ;  the  ends  form  a 
cluster  of  curls.  A  band  of  fancy  jewelry  and  bunches  of  gold 
wheat  complete  the  coiffure.  White  silk  net  gloves.  White 
gros  de  Naples  slippers  of  the  sandal  form." 

An  attractive  costume,  which  was  worn  in  Pennsylvania,  is 
given  in  Figure  87.  The  gown  is  of  soft  sage  satin  with  bro- 
caded flowers  of  the  same  colour  made  with  bias  folds  of  the 
satin,  broad  at  the  shoulder  and  tapering  in  at  the  waist ;  the 


206 


HISTOEIC  DEESS  IN  AMEEICA 


folds  are  finished  with  a  shell  trimming  of  the  satin,  the 
same  trimming  being  used  on  the  caps  of  the  sleeves  and  on  the 
cuffs.  This  unusually  pretty  dress  was  worn  by  Miss  Halde- 
man.  The  style  was  fashionable  in  1838  and  the  bonnet  is 
copied  from  a  plate  of  the  same  date. 

Fashion  was  by  no  means  an  unimportant  factor  in  the  so- 
cial life  of  rural  neighbourhoods  throughout  the  United  States. 
Mrs.  Gaskell's  tea-party  at  Cranford  might  easily  have  taken 
place  in  a  small  community  in  Virginia  or  in  New  England, 
for  instance.  We  remember  the  invitation  was  discussed  and 
then  accepted  because  "  Miss  Pole  possessed  a  very  smart  cap 
which  she  was  anxious  to  show  to  an  admiring  world."  The 
expenditure  in  dress  in  Cranford  was  principally  in  the  article 
referred  to.  If  the  heads  were  buried  in  smart  caps,  the  ladies 
were  like  ostriches,  and  cared  not  what  became  of  their  bodies. 
With  old  gowns,  yellow  and  venerable  collars,  any  number 
of  brooches  (some  with  dog's  eyes  painted  on  them,  some  that 
were  like  small  picture-frames  with  mausoleums  and  weeping- 
willows  neatly  executed  in  hair  inside ;  some  again  with  minia- 
tures of  ladies  and  gentlemen  sweetly  smiling  out  of  a  nest  of 
stiff  muslin)  and  new  caps  to  suit  the  fashion  of  the  day,  "  the 
ladies  of  Cranford  always  dressed  with  chaste  elegance  and  pro- 
priety," as  Miss  Barber  once  fittingly  expressed  it.  "  And  with 
these  new  caps,  and  a  greater  array  of  brooches  than  had  ever 
been  seen  together  at  one  time  since  Cranford  was  a  town,  did 
Miss  Forrester,  and  Miss  Matty,  and  Miss  Pole  appear  on  that 
memorable  Tuesday  evening.  I  counted  seven  brooches  myself 
on  Miss  Pole's  dress.  Two  were  fixed  negligently  in  her  cap 
(one  was  a  butterfly  of  Scotch  pebbles  which  a  vivid  imagina- 
tion might  believe  to  be  a  real  insect)  ;  one  fastened  her  net 
neckerchief;  one  her  collar;  one  ornamented  the  front  of  her 
gown  between  throat  and  waist ;  another  adorned  the  front 


HISTORIC  DRESS  IX  AMERICA 


207 


of  her  stomacher.  Where  the  seventh  was  I  have  forgotten,  but 
it  was  somewhere  about  her,  I  am  sure." 

Needlework  was  still  in  vogue  and  was  commended  in  the 
following  verses  by  a  contemporary  poet : 

'The  Needle 

"  The  gay  belles  of  fashion  may  boast  of  excelling 

In  waltz  or  cotillion,  at  whist  or  quadrille  ; 
And  seek  admiration  by  vauntingly  telling 

Of  drawing  and  painting  and  musical  skill ; 
But  give  me  the  fair  one  in  country  or  city 

Whose  home  and  its  duties  are  dear  to  her  heart, 
"Who  cheerfully  warbles  some  rustical  ditty, 

While  plyiug  the  needle  with  exquisite  art. 
The  bright  little  needle,  the  swift  flying  needle, 

The  needle  directed  by  beauty  and  art. 

"  If  love  have  a  potent,  a  magical  token, 

A  talisman  ever  resistless  and  true, 
A  charm  that  is  never  evaded  or  broken, 

A  witchery  certain  the  heart  to  subdue — 
'Tis  this,  and  his  armoury  never  has  furnished 

So  keen  and  unerring  or  polished  a  dart 
Let  beauty  direct  it,  so  pointed  and  burnished, 

And  oh,  it  is  certain  of  touching  the  heart. 

"  Be  wise  then,  ye  maidens,  nor  seek  admiration 

By  dressing  for  conquest  and  flirting  with  all  j 
You  never,  whate'er  be  your  fortune  or  station, 

Appear  half  so  lovely  at  rout  or  at  ball 
As  gaily  convened  at  a  work-covered  table, 

Each  cheerfully  active  and  playing  her  part, 
Beguiling  the  task  with  a  song  or  a  fable, 

And  plying  the  needle  with  exquisite  art." 

A  photograph  of  the  wedding  outfit  worn  by  Miss  Sarah 
Hayes  who,  in  1836,  married  Major  Mordecai,  a  distinguished 
officer  of  the  United  States  Army,  in  the  Synagogue  in  Phila- 
delphia, is  given  in  Figure  170.  The  gown  is  of  the  sheerest, 
filmiest  India  muslin  we  have  seen,  and  was  imported  for  the 


1802-1854 

Figure  157. — 1813 — Little  girl  in  pantalettes.    From  a  plate. 

Figure  158. — 1802 — Mother  and  children.    From  a  portrait  of  Mrs.  Hind. 

Figure  159. — 1837 — Girl  in  pantalettes. 

Figure  160.— 1820— Mother  and  child. 

Figure  161. — 1850 — Boy  in  sailor  costume.  From  a  contemporary  portrait. 
Figure  162. — 1854 — Boys  in  Highland  dress.    From  a  portrait. 


HISTORIC  DRESS  IN  AMERICA 


211 


occasion  by  the  bride's  father,  one  of  the  leading  merchants  of 
the  day.  The  slippers  have  square  toes,  the  new  fashion  for 
1836,  and  the  short  gloves  are  embroidered  and  originally  were 
trimmed  with  blond  lace  to  match  the  veil.  The  handker- 
chief case  was  the  work  of  the  bridesmaids  and  also  the  beauti- 
fully embroidered  handkerchief  with  "  Sarah "  in  flowered 
letters  in  one  corner.  The  fan  is  an  exquisite  specimen  of 
carved  ivory  made  in  India,  with  the  monogram  of  the  bride  in 
the  centre.  The  marriage  certificate  is  in  Hebrew  characters, 
which  unfortunately  do  not  show  in  the  photograph.  We 
notice  that  the  sleeves  were  originally  puffed,  a  very  fashion- 
able style  in  1836. 

About  this  date  the  extravagantly  large  sleeves  went  out 
of  fashion,  and  were  followed  by  a  more  graceful  style,  fitting 
close  to  the  arm  on  top  and  full  at  the  elbows. 

In  Figure  230  is  shown  a  gown  of  cream  white  figured  silk 
worn  in  1837  by  a  Quaker  maiden  at  a  wedding  in  a  Phila- 
delphia Meeting.  The  sleeves  are  in  the  new  fashion,  which 
succeeded  the  leg-of-mutton  in  popularity.  The  hair  is  copied 
from  a  contemporary  portrait. 

Some  of  the  costumes  worn  by  Queen  Victoria,  her  coronation 
robes  as  well  as  some  every-day  dresses,  are  exhibited  in  her 
rooms  at  Kensington  Palace,  and  it  is  surprising  to  see  what 
a  little  woman  the  great  queen  was.  One  gown  of  black 
poplin,  worn  on  some  occasion  of  court  mourning,  has  very 
small  sleeves,  finished  with  exquisitely  neat  little  cuffs  of  em- 
broidered muslin. 

In  1837,  when  President  Van  Buren  took  up  his  abode  at 
the  White  House,  Mr.  Andrew  Stevenson  was  sent  as  Minister 
to  Great  Britain  from  the  United  States,  and  was  of  course 
present  at  the  coronation  of  Queen  Victoria  with  Mrs.  Steven- 
son, whose  portrait  was  afterwards  painted  by  Healey  in  the 


212 


HISTORIC  DRESS  IN  AMERICA 


costume  she  wore  when  she  was  presented  at  the  Queen's  Draw- 
ing-room. This  picture  is  well  known  and  we  regret  space 
will  not  permit  us  to  give  a  copy  of  it  here. 

A  Philadelphia  bride  of  1838  wore  the  attractive  gown 
shown  in  Figure  228.  It  is  made  of  white  satin  and  the  trim- 
mings are  of  blond  lace.  With  this  costume  short  gloves  with 
embroidered  tops  were  worn  fastening  over  the  band  of  the 
long  lace  sleeves  as  shown  in  the  illustration.  The  veil  and 
arrangement  of  hair  are  copied  from  a  portrait  of  the  same  year. 
The  dress  in  Figure  74  belonged  to  the  same  bride.  The  colour 
is  a  delicate  pink  and  the  sash  of  soft  figured  satin  ribbon  to 
match  ;  the  lace  at  the  neck  and  on  the  sleeves  is  of  white  blond 
which  was  the  favourite  of  fashion  at  the  time.  The  hair  is 
copied  from  an  English  portrait. 


Women's  Dress 

1840-1850 

4<  Change  of  Fashion  is  the  tax  which  industry 
imposes  on  the  vanity  of  the  rich." 

ITH  the  new  year,  1840,  we  notice  a  decided 
change  in  bonnets.  The  immense  flaring 
brims  which  had  been  worn  for  the  last  ten 
years  were  replaced  by  a  new  shape  some- 
what resembling  the  capotes  of  the  early 
years  of  the  nineteenth  century.  The  long 
veils  of  brocaded  gauze  so  fashionable  in 
the  thirties  were  also  superseded  by  shorter 
veils  of  net  or  lace,  with  small  figures  or 
with  plain  centres  of  lace  with  figured  borders  (Figures  128 
and  131). 

In  a  letter  from  the  Paris  correspondent  to  the  "  Court  Maga- 
zine "  for  July,  1840,  we  find  the  following  description  of  the 
new  bonnets  :  "  They  are  worn  rather  close  to  the  face  and 
made  of  Faille  de  riz,  Crepe  lisse,  Leghorn  and  fine  straws.  The 
crowns  sit  back  quite  flat  and  the  fronts  are  rather  less  open  but 
very  long  at  the  ears."    (See  Figures  128,  129  and  131.) 

"  The  most  elegant  bonnets  are  covered  with  what  we  call  a 

voilette  of  lace  or  tulle  illusion  ;  this  little  veil  does  not  fall  over 

the  face,  but  merely  covers  the  bonnet,  being  frequently  brought 

from  underneath  the  front ;  a  long  lappet  falls  as  low  as  the 

waist  from  each  side  of  the  front," 

213 


214  HISTORIC  DRESS  IN  AMERICA 

A  bonnet  worn  in  Philadelphia  in  1840,  of  white  ribbed 
silk,  trimmed  with  white  satin  ribbon  and  a  voilette  of  blond 
lace  hanging  in  long  lappets  on  each  side,  and  with  pale  pink 
flowers  inside  the  brim,  belongs  to  Miss  Dutihl's  Collection  at 
Memorial  Hall.    A  picture  of  it  is  given  in  Figure  131. 

"  On  coloured  silk  bonnets  these  voilettes  are  made  of  the 
same  shade  as  the  silk.  Drawn  capotes  are  also  de  mode;  some 
have  voilettes  and  others  a  narrow  ruche  of  white  tulle  round  the 
edge  of  the  front.  Straws  and  Leghorns  are  trimmed  with 
velvet,  violet  or  dark  green  being  the  favourite  colours  for  this 
purpose  ;  a  torsade  intermingled  with  straw  goes  round  the 
crown,  and  the  brim  is  edged  inside  and  out  with  a  band  of 
velvet  more  than  an  inch  in  depth.  A  flat  ostrich  feather  is 
placed  at  one  side  and  lies  perfectly  flat  across  the  bonnet, 
drooping  to  the  opposite  side  ;  this  feather  may  be  white  or  the 
colour  of  the  velvet,  or  any  colour  that  contrasts  well  with  the 
trimming.  The  younger  ladies  who  do  not  wear  feathers  prefer 
a  half  wreath  of  field  flowers." 

The  same  correspondent  announced  that  long  cachemire 
shawls  were  coming  in  and  would  take  the  place  of  square 
shawls.  They  were  to  be  Avorn  as  scarfs.  "  White,  black  and 
blue  grounds  with  patterns  of  palms  or  rosettes  joined  with  light 
running  patterns,"  Avere  the  most  desirable  combinations. 
"  Black  shawls  trimmed  Avith  lace  or  fringe,  and  black  silk 
scarfs  trimmed  all  round  with  lace,  or  only  with  silk  fringe  at 
the  ends,  are  universally  Avorn.  Coloured  silk  scarfs  are  also 
in  fashion,"  and  it  Avas  considered  tres  distingue",  we  learn,  to 
have  your  scarf  and  your  dress  of  the  same  colour,  and  Avith  a 
Avhite  dress  a  scarf  of  the  colour  of  the  bonnet. 

Lace  Avas  Avorn  extensi\rely  in  the  forties.  Brussels  and 
Honiton  lace  Avere  perhaps  the  most  fashionable.  Queen 
Victoria's  Avedding  dress  (February  10,  1840)  Avas  of  this  beauti- 


HISTORIC  DRESS  IN  AMERICA 


215 


ful  fabric  made  at  the  picturesque  village  in  Devon  from  which 
the  lace  gets  its  name. 

The  first  note  on  crinoline,  so  soon  to  be  an  indispensable 
adjunct  to  the  fashionable  toilet,  is  given  in  the  same  letter  from 
Paris  :  <:  Of  course  you  have  heard  of  the  Jupons  de  Qrinoline ; 
they  are  very  light  and  cool,  and  make  the  dress  sit  beautifully, 
and  one  perfection  in  them  is  that  they  never  crease  or  get  out 
of  form." 

Sleeveless  jackets,  called  Canegous,  came  into  fashion  in 
1840.  They  were  open  in  front,  but  finished  at  the  neck  with 
small  collars,  and  were  either  richly  embroidered  or  trimmed 
with  lace.  In  1840  we  read  of  white  spencers,  to  be  worn  like 
our  modern  blouses  with  coloured  skirts.  Another  familiar 
fashion  of  to-day  seems  to  be  a  revival  of  1840  ;  cuffs  and  collars 
on  the  sleeves  and  neck  are  spoken  of  by  a  contemporary  author 
as  "indispensable."  Spencers  of  black  or  coloured  velvet  were 
a  very  becoming  fashion. 

Close-fitting  dresses,  called  Redingotes,  were  very  popular 
at  this  time.  We  read  of  one  in  a  London  magazine,  made 
of  white  India  muslin  lined  with  pale  blue  silk  and  trimmed 
with  lace,  and  another  lined  with  pink  and  trimmed  with  hand 
embroidery.  Sleeves  were  either  tight  or  full  according  to  the 
fancy  of  the  wearer  ;  specimens  are  given  in  Figures  128  and  136. 
Bodices  were  made  with  a  sharp  point  at  the  waist  in  front  and 
round  in  the  back,  and  were  usually  open  at  the  throat,  and 
either  worn  over  a  chemisette  or  finished  with  a  ruching  of  lace 
for  morning  or'  street  wear.  Evening  gowns  were  cut  low  and 
finished  with  a  bertha  of  lace,  or  silk  to  match  the  dress 
(Figures  134  and  135). 

Very  elaborate  head-dresses  were  worn  at  this  date,  made  of 
India  muslin  or  organdie,  trimmed  with  lace.  Applique  and 
English  point  lace  were  used  instead  of  the  blond  lace  which 


210 


HISTORIC  DRESS  1 1ST  AMERICA 


had  been  so  fashionable  in  the  thirties.  (See  Figures  134,  139 
and  233.)  The  front  hair  was  worn  either  in  broad  braids, 
smooth  bands,  or  in  long  ringlets,  while  the  back  hair  was 
braided  or  coiled  very  low  on  the  neck.  Short  gloves  were  still 
in  fashion  and  trimmed  with  lace,  swansdown,  ribbon,  etc. 
They  were  either  fastened  with  buttons  (two  or  four)  or  laced 
up  with  a  silk  cord. 

At  this  period,  slender  waists  being  very  much  admired, 
the  bodices  were  gradually  made  with  deeper  points  and  worn 
without  belts,  and  the  gathers  of  the  full  skirts  were  distributed 
at  the  sides  and  back  to  produce  that  effect.  An  authority  of 
this  time  says :  "  I  agree  with  the  doctors  in  setting  my  face 
against  tight  lacing,  the  most  dangerous  practice  a  lady  can 
persevere  in  ;  so  have  your  dress  made  with  a  long  waist ;  have 
your  petticoat  gathered  into  a  very  broad  band  cut  on  the  cross 
way,  and  with  a  point  in  front,  so  as  not  to  have  gathers  under 
the  point  of  your  dress ;  let  the  petticoat  be  made  of  crinoline,  or 
of  a  very  thick  cotton  material  with  a  sort  of  honeycomb  pattern 
all  over ;  this  will  make  your  dress  appear  sufficiently  full  and 
form  a  proper  contrast  to  the  waist,  thereby  sparing  you  the 
necessity  and  agony  as  well  as  injury,  of  tight  lacing." 

Wadded  cachemire  shawls  were  in  vogue,  but  the  newest 
wrap  was  a  small  wadded  cape  with  a  pointed  hood.  We  read, 
too,  of  the  Palatine,  a  cloak  of  much  the  same  style  made  of 
black  satin  wadded  and  lined  with  blue,  rose-colour,  or  apricot 
satin  trimmed  all  round  with  black  lace,  and  reaching  to  the 
knees  in  front,  the  hood  made  to  be  drawn  over  at  pleasure ; 
especially  adaptable  for  an  evening  wrap. 

A  walking  dress  for  the  winter  of  1840  is  described  in  the 
"  Court  Magazine  "  :  "  Made  of  satin  lined  and  wadded  through- 
out;  the  corsage  close  fitting,  and  with  tight  sleeves  with  two 
seams.    Upon  the  front  of  the  waist  is  a  trimming  consisting  of 


HISTORIC  DRESS  IN  AMERICA 


217 


four  rows  of  black  lace  set  on  in  regular  fluted  plaits,  extend- 
ing from  the  shoulder  to  the  waist  in  the  form  of  a  V,  and  is 
likewise  carried  across  the  back  in  the  style  of  a  pelerine ;  besides 
this  the  trimming  is  carried  down  each  side  of  the  front  breadth 
of  the  skirt  en  tablier,  becoming  wider  as  it  goes  down  and  also 
increasing  in  distance." 

In  1841,  we  notice  that  sleeves  were  worn  long  and  close-fit- 
ting for  house  and  street  wear,  sometimes  finished  with  an 
epaulet  cap  called  a  jockey  (Figure  136).  Evening  dresses  were 
made  with  voluminous  skirts  trimmed  wii,h  flounces  ;  bodices 
fitted  close  to  the  figure  and  were  stiffly  boned  and  finished 
with  a  point  coming  a  little  below  the  waist  line  in  front. 
Berthas  of  lace  or  of  the  same  material  as  the  dress  were  not 
only  in  the  height  of  fashion  during  the  forties,  but  have  been 
a  favourite  style  of  trimming  ever  since. 

The  numerous  Daguerreotypes  of  that  period  furnish  us 
with  many  accurate  details  of  dress.  From  these  we  learn  that 
it  was  still  the  fashion  to  wear  the  hair  parted  in  the  middle, 
and  although  curls  which  had  been  the  favourite  style  for  so 
many  years  were  still  worn,  the  most  fashionable  arrangement 
was  to  draw  the  front  hair  down  in  smooth  bands  concealing 
the  ears  and  fasten  the  ends  with  the  coil  at  the  back.  Often 
the  front  hair  was  braided  in  many  strands.  The  so-called 
"  Polish  braid  "  was  in  nine  strands  and  was  most  becoming  to 
a  delicate  face.  When  the  hair  was  very  long,  the  braids  were 
often  carried  across  the  head,  making  a  sort  of  coronet.  (See 
Figure  136.)  In  many  of  the  portraits  of  Queen  Victoria  we 
notice  this  effect,  but  it  was  a  favourite  style  in  America  too ; 
at  that  period  almost  every  lady  had  an  abundance  of  natural 
hair,  and  very  little  false  hair  was  worn. 

In  1841  Mrs.  Julia  Ward  Howe  made  a  visit  to  England  and 
records  in  her  "  Reminiscences  "  some  of  the  costumes  worn  by 


1860-1870 

Figure  163.— 1864 — Small  hat  with  rolling  brim  and  feathers.    Prom  a 
print  of  the  time. 

Figure  164. — 1860-70 — Turban  hat  with  white  feather.    From  a  print  of 
the  time. 

Figure  165. — 1862 — Mushroom  hat  and  Garibaldi  blouse.    From  a  con- 
temporary print. 

Figure  166. — 1868 — Croquet  costume  showing  small  hat  worn  over  a 

"  waterfall."    The  ruffled  skirt  is  short  and  shows  the  Balmoral  boots. 

From  a  contemporary  picture. 
Figure  167. — 1860-70 — House  maid  in  a  figured  calico  and  small  cap. 

From  an  English  print. 
Figure  168. — 1860 — Hair  arranged  in  a  chenille  net.    From  a  print. 
Figure  169. — 1860 — A  jockey  hat  and  feather.    From  a  contemporary 

print. 


HISTOEIG  DRESS  IN  AMERICA 


221 


English  ladies  of  note  in  the  early  days  of  Queen  Victoria's 
reign.  She  met  the  beautiful  Mrs.  Norton  at  a  dinner,  and 
says  :  "  Her  hair,  which  was  decidedly  black,  was  arranged  in 
flat  bandeaux  according  to  the  fashion  of  the  time.  A  diamond 
chain  formed  of  large  links  encircled  her  fine  head.  Her  eyes 
were  dark  and  full  of  expression.  Her  dress  was  unusually 
decolletee,  but  most  of  the  ladies  present  would  in  America  have 
been  considered  extreme  in  that  respect."  * 

On  another  occasion  Mrs.  Howe  met  the  Duchess  of  Suther- 
land, and  describes  her  costume  as  follows  : 

"  She  wore  a  brown  gauze  or  barege  over  light  blue  satin 
with  a  wreath  of  brown  velvet  leaves  and  blue  forget-me-nots  in 
her  hair,  and  on  her  arm,  among  other  beautiful  jewels,  a  min- 
iature of  the  Queen  set  in  diamonds."  A  dress  of  pink  moire 
worn  by  the  same  lady,  with  a  wreath  of  velvet  leaves  inter- 
spersed with  diamonds,  is  also  mentioned.  Wreaths  of  artificial 
flowers  combined  with  ribbons  or  jewels  were  fashionable  from 
1840  to  1850.   (See  Figure  139.) 

A  letter  from  Paris,  written  in  1841,  describes  an  evening 
costume  of  pale  blue  satin  trimmed  with  sable  round  the  bot- 
tom of  the  skirt  and  up  the  front  en  tablier,  the  short  plain 
sleeves  also  trimmed  with  the  fur.  The  bodice  was  made  with 
a  deep  point.  A  toque  of  blue  velvet  was  worn  with  this  dress 
ornamented  with  a  Henri  IV  plume  fastened  with  a  diamond 
aigrette.  The  graceful  Pompadour  sleeves,  with  ruffles  of  lace 
falling  very  low  at  the  back  of  the  arm,  were  revived  in  1841, 
and  for  evening  dress  the  points  of  bodices  were  very  deep. 
But  tight  sleeves  were  worn  for  dinner  and  house  gowns. 
Much  fur  was  used  in  trimming.  Muffs  of  moderate  size  (Fig- 
ure 137)  and  round  pelerines  or  capes  were  made  generally  of 
ermine,  sable,  marten  and  swansdown.    Passementerie,  Bran- 

*  Reminiscences  1819-1^99.    By  Mrs.  Jnlia  Ward  Howe. 


222 


HISTORIC  DRESS  IN  AMERICA 


denburghs  and  bias  folds  were  universally  used,  but  ruffles  and 
flounces  were  temporarily  out  of  favour.  Bonnets  were  made 
very  long  at  the  sides  projecting  below  the  chin  in  a  very  unbe- 
coming style  which  did  not  long  remain  in  fashion  (Figure  137). 
Three  new  caps  are  mentioned  :  La  Coquette,  a  half  cap  with  a 
deep  fancy  border  trimmed  with  marabout  tips  ;  La  Religieuse, 
a  nun's  cap  made  of  fine  materials ;  Marie  Stuart  cap,  with 
point  in  front,  made  of  lace  for  morning  wear  and  of  velvet  for 
evening  dress. 

Arrows  with  diamond  heads  were  worn  in  the  hair  and  large 
high  backed  combs  again  made  their  appearance,  some  plain 
and  others  again  ornamented  with  gold  and  inlaid  with  precious 
stones.  Coral  ornaments  were  very  much  worn.  A  single  gold 
bracelet  on  the  right  arm  above  the  glove  was  very  fashionable, 
and  a  serpent  with  ruby  eyes  was  said  to  be  "  the  most  splendid 
thing  of  that  description  ever  seen."  Several  novelties  in 
feathers  are  also  mentioned.  "  There  are  willow  feathers, 
panachees,  the  ends  tipped  in  shaded  colours  running  one  into 
another,  as  green  into  lilac,  thence  into  orange,  and  ending  in 
shades  of  blue.  We  have  also  marabouts,  sables  oVor  or  oV argent 
having  the  appearance  of  gold  or  silver-dust  shaken  upon  them. 
For  dress  turbans  they  are  truly  splendid."  A  certain  delicate 
shade  of  purple  called  pensSe  was  also  new  in  the  winter  of 
1841-1842,  and  pearl-grey  and  watered  blue  were  very  popular 
for  street  wear. 

Many  costumes  were  made  en  redingote  buttoned  all  the  way 
down  the  front  with  small  buttons.  Tight  plain  sleeves  were 
the  best  suited  for  this  style  of  dress,  although  full  sleeves  were 
worn  finished  with  plain  cuffs.  Gold  or  silver  cord  and  tassels 
were  twisted  in  and  out  among  the  braids  of  the  back  hair,  and 
both  tassels  brought  behind  the  right  ear,  and  allowed  to  hang 
loosely.    With  this  coiffure  long  English  curls  were  usually 


HISTORIC  DRESS  IN  AMERICA 


223 


arranged  on  each  side  of  the  face,  but  the  front  hair  was  very 
generally  worn  in  smooth  bands  throughout  the  forties,  as  we 
notice  in  many  portraits  of  the  day,  and  turbans  of  every 
variety  were  still  in  vogue.  Bows  without  ends  were  used  ex- 
tensively in  trimmings  for  turbans  and  bonnets.  Quillings  of 
tulle  were  worn  inside  bonnet  brims  or,  instead  of  the  ruche, 
plaitings  of  silk  or  tulle  were  sometimes  placed  on  the  edge  of 
the  brim  and  flowers  worn  inside. 

Morning  dresses  of  wadded  cashmere  or  merino  with  loose 
sleeves  showing  undersleeves  of  cambric  are  noticed  in  the 
plates  of  1842,  and  were  worn  for  many  years  (see  Figure 
156),  sometimes  with  little  caps  of  India  muslin  trimmed  with 
lace  and  ribbon. 

Revers  worn  very  low  on  the  shoulders  were  a  noticeable 
feature  of  walking  dresses  in  1842,  but  many  costumes  were 
made  without  any  trimming  on  the  corsage.  A  new  fashion 
was  an  arrangement  of  horizontal  puffings  of  the  material  of  the 
dress  across  the  front  of  the  bodice ;  this  was  called  en 
coulisses. 

Separate  bodices  of  lingerie  were  also  fashionable  at  that 
time  made  of  alternate  puffings  of  thin  muslin  and  embroidery. 
A  picture  of  one  is  given  in  Figure  128,  which  also  shows  a 
scarf  of  Roman  striped  silk  worn  in  Philadelphia  and  a  bonnet 
from  a  plate  of  1842. 

During  this  year  skirts  were  still  worn  very  full  over  petti- 
coats of  crinoline.  Sometimes  they  were  made  perfectly  plain 
without  trimmings,  but  generally  bias  folds  of  the  material  were 
put  on  en  tablier  or  in  groups  above  the  hem.  Bodices  were 
made  with  rounded  points  at  the  waist  and  laced  up  the  back, 
and  they  were  usually  half  or  three-quarters  high.  Sleeves 
were  worn  in  a  great  variety  of  shapes.  Long  and  tight,  short 
and  close-fitting,  puffed  to  the  wrist  with  fanciful  caps  at  the 


224 


HISTOEIC  DRESS  IN  AMERICA 


top,  and  even  bell  sleeves  with  undersleeves  of  thin  white 
muslin  are  seen  in  the  fashion  plates  of  this  time.  The 
shoulders  are  very  long  and  sloping.  Black  varnished  leather 
shoes  were  a  new  fashion.  Very  fanciful  caps  were  worn. 
Mits  and  even  gloves  of  lace  were  very  much  in  vogue.  Bon- 
nets still  projected  over  the  face  and  ears,  and  were  trimmed 
with  feathers,  ribbon  and  flowers.  Parasols  were  very  small 
and  muffs  moderately  large. 

In  1842,  a  French  periodical,  "  Le  Follet,"  was  combined 
with  the  "  Court  Magazine  "  and  the  descriptions  of  the  new 
fashions  were  written  in  French. 

For  the  spring  of  this  year  we  are  told  that  soutache  braid 
and  passementerie  were  lavishly  used  in  trimming  and  that  the 
most  fashionable  materials  were  batiste,  mouselline  de  laine,  and 
tissue  bayadere.  The  crape  hats  of  Mr.  Leclerc  appear  to  have 
been  "the  rage  "  in  Paris  at  that  time.  We  read  that  nothing 
could  be  "  more  delicious  "  than  his  hats  in  rose-coloured  crape 
ornamented  with  a  bunch  of  moss  roses  at  one  side  ;  nothing 
more  dainty  than  his  capotes  of  white  crape  and  Valenciennes  in- 
sertion trimmed  with  bias  folds  of  gros  de  Naples  in  rose-colour. 
Some  of  these  hats  are  trimmed  with  shaded  ribbons  and 
marabout  feathers  shaded  to  match,  producing  a  very  unique 
effect.  Mits  of  velvet  were  a  Paris  novelty  described  in  1842. 
They  were  especially  intended  to  wear  with  short  sleeves  and 
were  trimmed  with  lace  and  embroidery. 

A  mourning  dress  is  described  in  a  magazine  of  1842  : 
"  Dress  of  black  barege  made  with  a  deep  hem  at  the  bottom 
of  the  skirt,  and  a  fold  of  the  same  depth  above.  Bodice  cut 
three-quarters  high  and  laced  up  the  back.  A  ruche  of  the 
material  finishes  the  neck  of  the  corsage,  and  the  edge  of  the 
long  tight  sleeves.  A  pelerine  of  black  lace  cut  low  in  the  neck 
is  worn  round  the  shoulders  and  fastened  with  a  black  ribbon 


HISTORIC  DRESS  IN  AMERICA 


225 


bow.  An  under-dress  which  shows  through  the  barege  is  of 
grey  gros  de  Naples.  A  drawn  bonnet  also  of  grey  gros  de 
Naples,  trimmed  round  the  face  with  a  ruche  of  black  tulle,  and 
small  black  flowers  and  a  long  grey  feather  surrounds  the 
crown  and  hangs  down  on  the  left  side.  Gloves  of  black  lace, 
and  slippers  of  black  panel  de  soie  completed  this  costume." 

A  graceful  walking  dress  is  described  as  follows  :  "  Redin- 
gote  of  Pekin  stripe,  blue  and  brown.  The  corsage  is  tight 
and  almost  high  in  the  neck,  tight  sleeves  trimmed  with  two 
bias  folds  of  the  silk  at  the  top.  The  skirt  is  very  full,  and 
trimmed  with  two  bias  folds  (en  tablier)  down  each  side  of  the 
front.  Apricot-coloured  gloves  and  parasol.  Black  shoes  and 
gaiters.  Bonnet  of  rice  straw  trimmed  with  pink  ribbon  ;  a 
large  veil  of  white  gauze,  drawn  into  fullness  by  a  ribbon  in  a 
hem,  is  fastened  round  the  crown,  and  thrown  back  over  the 
shoulders.    Hair  is  in  full  ringlets  at  the  sides." 

The  following  extract  is  from  a  letter  dated  Paris,  June  25, 
1842  :  "  Bareges,  tarlatans  and  such  light  textures  are  the  only 
things  that  we  can  wear  here  just  now,  but  after  all  can  any- 
thing be  prettier?  The  dresses  are  still  very  long  and  the 
skirts  ample  though  one  of  our  couturieres  has  tried  to  bring  in 
the  fashion  of  not  having  any  fullness  in  front.  Comment !  I 
think  I  hear  you  exclaim,  '  Can  this  really  be  ?  '  Oui,  ma  chere, 
but  never  mind  ;  it  is  an  innovation  that  will  not  take,  so  we  need 
give  ourselves  no  trouble  about  it.  In  light  materials  the  cor- 
sages are  invariably  made  en  coulisses.  They  are  very  becoming 
to  the  figure  and  suitable  for  muslins  and  bareges  but  in  any- 
thing of  a  more  substantial  texture,  they  do  not  look  well. 
Corsages  with  ceintures  (Figure  127)  are  a  good  deal  worn  in 
morning  negligee  ;  after  all  there  is  something  very  pretty  in 
seeing  the  waist  neatly  supported  (the  French  soutenue  would 
suit  me  better)  by  a  pretty  belt  and  buckle  ;  it  is  therefore  a 


22G 


HISTORIC  DRESS  IN  AMERICA 


fashion  not  likely  to  remain  long  in  disuse.  We  have  de- 
cidedly triumphed  over  our  antipathy  to  short  sleeves  and  we 
wear  them  at  all  times  now." 

From  Paris  comes  the  following  amusing  bit  of  advice  :  "  I 
must  let  you  into  a  little  secret  about  the  manner  of  getting  up 
your  fine  things  which  will  render  them  more  becoming.  It  is 
to  put  an  imperceptible  tinge  of  pink  into  the  rinsing  water  in- 
stead of  blue,  which  our  grandmothers  for  a  hundred  genera- 
tions past  have  been  content  to  use.  But  now  that  the  other 
has  been  discovered,  we  wonder  how  we  could  have  put  up  with 
such  an  unbecoming  thing  as  what  is  called  'snow-white  linen.' 
But  recollect  your  collars  must  not  be  pink  ;  the  tinge  must  be 
felt,  not  seen,  if  I  may  so  express  myself." 

In  the  chronicles  of  1843,  we  notice  that  in  spite  of  the  in- 
convenience of  the  fashion,  street  dresses  were  still  worn  ex- 
tremely long  especially  in  the  back.  They  were  a  little  shorter 
in  the  front.  Corsages  were  all  made  tight  fitting.  Belts  and 
buckles  gained  in  popularity  especially  for  morning  wear.  In 
the  spring  of  this  year  (1843)  we  read  of  a  new  wrap,  a  Paletot, 
generally  of  silk  trimmed  with  black  lace,  or  with  a  quilling  of 
ribbon,  caught  in  about  the  waist  with  a  broad  ribbon.  Man- 
tillas were  in  the  height  of  fashion  at  that  time  and  were 
trimmed  with  frills  and  quillings  innumerable.  A  slight 
change  in  bonnets  is  mentioned.  The  brims  did  not  project 
jquite  so  much  over  the  face,  and  the  crowns  were  less  deep  also. 
In  Figure  126  is  given  the  picture  of  a  bonnet  in  Miss  Dutihl's 
collection,  which  shows  the  change  in  shape.  It  is  made  of 
dove-coloured  satin  trimmed  with  pink  and  green  figured  ribbon. 

Another  bonnet  of  this  year  (1843)  is  given  in  Figure  129, 
worn  with  a  dress  of  grey-green  satin  and  a  black  lace  shawl. 

The  fashion  plates  of  this  decade  are  very  attractive.  A  cer- 
tain harmony  of  colour  and  feminine  grace  pervades  them.  But 


HISTORIC  DRESS  IN  AMERICA 


227 


the  bonnets  must  have  been  most  uncomfortable,  projecting  be- 
}rond  the  face.  It  must  have  been  a  constant  temptation  to 
push  the  brims  back  to  get  a  good  look  at  something,  and  they 
were  worn  by  young  girls,  in  fact  by  little  children  as  the  pic- 
tures show.  The  newest  materials  were  changeable  coloured 
silks,  shot  silks  and  Pekin  stripes.  House  gowns  of  cashmere 
and  mousseline  de  laine  were  very  popular  in  winter,  and  of  cam- 
bric and  printed  muslin  for  summer. 

We  read  in  an  American  publication  of  a  new  head-dress  for 
1844.  "  A  most  irresistible  coiffure  is  a  wreath  of  periwinkles 
with  pendant  sprigs  of  the  flowers  mingled  with  the  curls  at 
each  side  of  the  face,  or  if  the  hair  is  worn  in  bands,  the  wreath 
may  be  most  becoming,  arranged  around  the  head  with  small 
bunches  of  the  flowers  and  leaves  hanging  from  the  coil  at  the 
back." 

The  only  change  in  the  form  of  caps  was  that  they  were 
a  little  smaller,  and  often  made  of  plain  muslin  without  any 
ribbon.  The  crown  was  very  small,  and  they  had  broad  lap- 
pets of  muslin  falling  on  each  side  behind  the  ears.  But  an- 
other and  decidedly  more  becoming  style,  was  of  plain  India 
muslin,  trimmed  with  two  rows  of  Valenciennes,  and  orna- 
mented with  a  broad  blue  ribbon  in  the  front,  and  shaded  with 
a  second  row  of  lace,  falling  over  the  ribbon.  A  rosette  of  blue 
silk  with  long  ends,  placed  on  the  left  side,  was  also  a  tasteful 
trimming.  Another  pattern  had  a  very  small  head  piece,  with 
lappets  of  Mechlin  lace  reaching  only  to  the  edge  of  the  ears  on 
both  sides,  and  ornamented  with  green  satin  ribbons.  Another 
is  trimmed  with  two  rows  of  embroidered  muslin,  slightly 
fulled,  and  decorated  with  two  small  coques  of  plaited  white  and 
blue  silk  ribbon,  a  twist  or  roll  of  the  same  encircling  the 
crown.  The  cap  in  Figure  233  is  on  this  order  without  lappets 
and  trimmed  with  choux  of  pink  satin. 


1820-1870 

Figure  170. — 1836 — "Wedding  costume  of  Miss  Sara  Hayes,  of  Phila- 
delphia. 

Figure  171. — 1850-70 — Lace  collars  and  cuffs  worn  in  Philadelphia  during 
this  period. 

Figure  172. — 1820-40 — Specimens  of  high  combs  worn  during  these  years. 
Figure  173. — 1854 — Bodice  of  wedding  gown  ;  embroidered  net  over  white 
satin,  trimmed  with  blond  lace.    Worn  by  a  Philadelphia  bride. 


HISTORIC  DRESS  IN  AMERICA 


231 


A  dainty  gown  of  white  cashmere  is  taken  from  the  same 
authority  :  "  The  front  of  the  skirt  is  trimmed  with  a  facing  of 
pink  ;  tight  and  high  corsage,  finished  with  a  square  collar,  full 
hanging  sleeves,  bordered  and  faced  to  match  the  skirt.  Under- 
dress  of  muslin,  trimmed  round  the  bottom  with  two  rows  of 
embroidery.  Cap  of  light  spotted  lace,  decorated  with  roses  ; 
this  cap  is  considered  the  neatest  of  the  season  and  is  universally 
admired." 

Under  the  heading  "  Bonnets,  etc.,  in  New  York,"  a  corre- 
spondent of  the  "Boston  Transcript"  thus  describes  the  fash- 
ions there  :  "  Within  the  past  week  an  invoice  of  bonnets  has 
arrived  from  Paris  and  on  Sunday  the  congregations  of  the 
fashionable  churches  looked  like  beds  of  lilies  and  roses.  The 
latest  style  is  really  very  beautiful,  or  as  the  ladies  say  '  sweet.' 
The  one  I  have  been  most  pleased  with  is  a  perfect  flower.  The 
material  is  white  figured  muslin,  delicately  trimmed  with  rib- 
bons and  roses,  and  in  form  like  the  cup  of  a  morning  glory. 
If  the  humming  birds  and  honey-bees  don't  light  upon  it  on 
Broadway,  I  shall  think  they  show  a  great  want  of  taste.  For 
dresses,  chameleon  silks  are  much  worn,  three  distinct  colours, 
by  some  magic  of  art,  being  thrown  on  a  plain  ground,  looking 
as  if '  Iris  dipt  the  wool.'  A  new  style  of  evening  dress  ap- 
peared at  the  last  '  Hop  '  at  the  '  Astor  House,'  which  attracted 
the  attention  of  connoisseurs  as  something  quite  original  and 
beautiful ;  a  white  muslin  with  two  broad  and  richly  coloured 
borders,  looking  like  an  illuminated  title  page." 

As  shown  in  the  initial  at  the  head  of  this  chapter  skirts 
were  often  trimmed  with  deep  flounces  in  1845,  and  they  were 
worn  wider  and  fuller  than  ever  before  in  the  nineteenth  cen- 
tury. Stiffly  starched  underskirts  were  worn  to  keep  out  the 
dresses  and  they  were  so  full  over  the  hips  that  the  waist  ap- 
peared very  small  in  proportion.    The  shoulders  of  bodices 


232 


IIISTOBIC  DRESS  IN  AMERICA 


were  cut  long  and  sloping,  and  the  sleeves  continued  to  be  worn 
almost  skin-tight.  Shoulder  capes  of  embroidered  muslin  and 
lace  were  very  fashionable.  (See  Figure  233.)  Turned-clown 
collars  were  most  popular,  but  narrow  ruchings  were  also  worn 
at  the  throat  and  wrists.  (See  Figure  127.)  A  material  called 
delaine,  a  merino  without  the  twill,  with  figures  or  spots 
stamped  in  contrasting  colours,  was  popular  for  house  dresses. 
It  was  like  the  fashionable  challis  of  to-day,  but  delaines  are 
mentioned  in  old  letters  and  books  up  to  the  sixties.  In  Figure 
127,  a  picture  is  given  of  a  gown  of  this  material  worn  in 
Boston  in  1845.  Bonnets  were  now  made  to  flare  a  little  round 
the  face  and  were  often  of  tulle  or  gauze  shirred  over  silk  of  the 
same  colour  (Figure  124).  A  pale  pink  bonnet  of  this  descrip- 
tion worn  in  Philadelphia  in  1846  is  preserved  at  Stenton,  Phil- 
adelphia. 

In  1845  we  notice  that  the  berthas  on  evening  gowns  were 
very  deep,  reaching  about  to  the  waist  line.  Black  moire  was 
a  new  fashion  for  evening  dress,  and  in  an  English  magazine 
of  February,  1845,  is  described  a  costume  of  this  material  which 
would  have  suited  Lady  Dedlock  to  perfection.  "  Skirt  long 
and  ample,  close-fitting  pointed  bodice  reaching  to  the  throat, 
and  tight  long  sleeves.  A  passementerie  trimming,  also  black, 
is  arranged  at  the  foot  of  the  skirt,  in  bretelles  on  the  bodice,  and 
also  trims  the  sleeves.  A  small  embroidered  collar  is  fastened 
with  a  brooch  at  the  throat,  and  a  dress  cap  of  English  Point 
lace  trimmed  with  pink  flowers  and  ribbons  completes  the 
costume." 

A  style  of  dress  which  came  into  vogue  at  this  time  and  re- 
mained long  in  fashion  was  the  bodice  opening  over  a  chemi- 
sette of  white  muslin  and  finished  with  revers. 

In  1846  bonnets  were  noticeably  smaller  and  the  fronts  were 
less  flaring.    This  change  is  shown  in  Figure  136.    Caps  and 


HISTOEIC  DRESS  IN  AMERICA 


233 


fanciful  head-dresses  were  still  in  vogue  for  evening  as  well  as 
morning  dress.  Ball  dresses  were  cut  quite  high  in  the  neck,  a 
very  awkward  style.  House  gowns  were  worn  high  at  the 
throat  and  finished  with  a  small  flat  collar  of  lace  or  embroid- 
ery, or  cut  square  or  surplice  and  worn  over  a  chemisette  with  a 
flat  collar ;  a  pretty  fashion  which  afforded  an  opportunity  for 
the  exercise  of  individual  taste,  for  endless  was  the  variety  of 
dainty  lingerie  and  lace  in  use  at  this  time.  Tarlatan  was  the 
most  fashionable  material  for  dancing  frocks.  Parasols  were 
very  small  in  the  forties,  and  in  1846  a  new  fashion  of  folding 
parasols  was  introduced. 

The  morning  or  "  undress  "  costumes  of  this  time  were,  as 
we  see  by  the  following  contemporary  verses,*  made  high  neck 
and  long  sleeves,  and  being  very  comfortable,  were  adopted 
both  for  summer  and  for  winter,  and  were  a  great  contrast  to 
the  full  dress  for  winter  balls  : 

"She  was  in  fashion's  elegant  undress, 

Muffled  from  throat  to  ankle  ;  and  her  hair 

"Was  all  'en  papillotes,'  each  auburn  tress 

Prettily  pinned  apart.    You  well  might  swear 

She  was  no  beauty  ;  yet,  when  '  made  up '  ready 
For  visitors,  'twas  quite  another  lady. 

''Since  that  wise  pedant,  Johnson,  was  in  fashion, 
Manners  have  changed  as  well  as  moons  ;  and  he 

"Would  fret  himself  once  more  into  a  passion, 
Should  he  return  (which  Heaveu  forbid)  and  see 

How  strangely  from  his  standard  dictionary 
The  meaning  of  some  words  is  made  to  vary. 

"For  instance,  an  undress  at  present  means 

The  wearing  a  pelisse,  a  shawl,  or  so  ; 
Or  anything  you  please,  in  short,  that  screens 

The  face,  and  hides  the  form  from  top  to  toe  ; 
Of  power  to  brave  a  quizzin-glass,  or  storm  ; 

'Tis  worn  in  summer,  when  the  weather's  warm. 

*  Fanny,  by  F.  G.  Hallack. 


234 


HISTORIC  DRESS  IK  AMERICA 


"  But  a  full  dress  is  for  a  winter's  night, 

The  most  genteel  is  made  of  '  woven  air '  ; 

That  kind  of  classic  cobweb,  soft  and  light, 
Which  Lady  Morgan's  Ida  used  to  wear. 

And  ladies,  this  aerial  manner  dressed  in, 
Look  Eve-like,  angel-like,  aud  interesting." 

In  1848,  the  date  of  the  second  Republic  in  France,  bodices 
were  worn  opening  in  front  over  white  chemisettes,  and  sleeves 
were  wide  at  the  bottom,  showing  an  undersleeve  to  match  the 
chemisette.  This  fashion  was  very  generally  adopted  in  the 
United  States  and  worn  more  or  less  for  twenty  years.  (See 
Figure  135.)  We  read  of  a  garment  called  the  Kasaveck  im- 
ported from  Russia  at  this  time.  It  was  a  sort  of  jacket  reach- 
ing to  the  waist,  close-fitting  and  with  wide  braided  sleeves,  and 
was  usually  made  of  cashmere  or  satin  and  wadded.  This  gar- 
ment was  known  under  several  different  names  :  "Com  du  feu" 
"  Casagne"  "  Pardessus,"  etc.  "  Women  of  fashion,"  we  read, 
"  never  wore  them  out  of  their  own  houses  in  the  day- 
time." 

A  new  wrap  called  the  "  Cornelia  "  was  introduced  about 
1848.  "  It  had  no  seam  on  the  shoulder,  and  could  be  gathered 
up  on  the  arms  like  a  shawl  at  the  pleasure  of  the  wearer." 
Mantles  of  cashmere  with  double  capes  edged  with  braid,  and 
the  Josephine  mantle  with  one  cape,  without  shoulder  seams, 
reaching  to  the  waist,  were  popular  favourites.  Long  chains 
of  beads  and  cameo  brooches  without  clasps  were  worn. 

When  Mr.  Bancroft  was  Minister  to  England  (1844-1848) 
his  wife  wrote  her  impressions  of  the  English  people  she  met  to 
her  friends  in  Boston.  From  her  letters,  published  a  few  years 
ago,  we  quote  the  following  descriptions  : 

"  And  now  having  given  you  some  idea  whom  we  are  seeing 
here,  you  will  wish  to  know  how  I  like  them  and  how  they 
differ  from  our  own  people.    At  the  smaller  dinners  and  soirees 


HISTORIC  DRESS  IN  AMERICA 


235 


at  this  season  I  cannot  of  course  receive  a  full  impression  of 
English  society,  but  certainly  those  persons  now  in  town  are 
charming  people.  Their  manners  are  perfectly  simple  and  I  en- 
tirely forget,  except  their  historic  names  fall  upon  my  ear,  that 
I  am  with  the  proud  aristocracy  of  England. 

"  The  forms  of  society  and  the  standard  of  dress  are  very 
like  ours  except  that  a  duchess  or  a  countess  has  more  heredi- 
tary point  lace  and  diamonds.  The  general  style  of  dress 
perhaps  is  as  simply  elegant  as  ours.  There  is  less  superiority 
over  us  in  manners  and  all  social  arts  than  I  could  have  be- 
lieved possible  in  a  country  where  a  large  social  class  have  been 
set  aside  for  time  immemorial  to  create,  as  it  were,  a  social 
standard  of  high  refinement. 

"  Our  simple  breakfast  dress  is  unknown  in  England  ;  you 
come  down  in  the  morning  dressed  for  the  day  until  six  or 
seven  in  the  evening  when  your  dress  is  low  neck  and  short 
sleeves  for  dinner.  At  this  season  the  morning  dress  is  rich 
silk  or  velvet,  high  body  cut  close  in  the  throat  with  handsome 
collar  and  cuffs  and  always  a  cap.  I  adhere  to  a  black  watered 
silk  with  the  simple  cap  I  wear  at  home. 

"  For  the  Drawing-room  my  dress  was  of  black  velvet  with  a 
very  rich  bertha.  A  bouquet  in  the  front  of  fleurs-de-lis  like 
the  coiffure,  and  a  cachemire  shawl.  Head-dress  of  green  leaves 
and  white  fleurs-de-lis  with  a  white  ostrich  feather  drooping  on 
one  side.  I  wear  my  hair  now  plain  in  front,  and  the  wreath 
was  very  flat  and  classical  in  its  effect.  I  have  had  the 
diamond  pin  and  earrings  which  your  father  gave  me  reset  and 
made  into  a  magnificent  brooch  and  so  arranged  that  I  can  also 
wear  it  as  a  necklace  or  bracelet.  On  this  occasion  it  was  a 
necklace." 

Describing  a  Court  dinner  at  Buckingham  Palace,  Mrs. 
Bancroft  continues  : 


236 


HISTORIC  DRESS  IN  AMERICA 


"  My  dress  was  my  currant-coloured  or  grossaille  velvet 
with  a  wreath  of  white  arum  lilies  woven  into  a  kind  of 
turban  with  green  leaves,  and  bouquet  to  match  in  the  bertha 
of  Brussels  lace. 

"  On  the  occasion  of  the  Queen's  Birthday  Drawing-room  I 
went  dressed  in  white  mourning.  It  was  a  petticoat  of  white 
crape  flounced  to  the  waist  with  the  edges  notched.  A  train  of 
white  glace  trimmed  with  a  ruche  of  white  crape.  A  wreath 
and  bouquet  of  white  lilacs  without  any  green,  as  green  is  not 
used  in  mourning. 

"  My  dress  for  the  Queen's  Ball  was  a  white  crape  over 
white  satin  with  flounces  of  white  satin  looped  up  with  pink 
tuberoses.  A  wreath  of  tuberoses  and  bouquet  for  the 
corsage."  * 

Lady  Stuart  Wortley  made  an  extensive  tour  in  America  and 
evidently  found  much  to  delight  and  interest  her.  Arriving  in 
New  York  in  the  summer  of  1849,  she  was  at  once  attracted  by 
the  fashionable  attire  of  the  people  and  dismayed  by  the  "  hot 
weather." 

"  We  soon  saw  some  evidence  of  the  warmth  of  a  New  York 
summer,  in  the  profusion  of  light  cool  bonnets  furnished  with 
broad  and  deeply  hanging  curtains,  shading  and  covering  the 
throat  and  part  of  the  shoulders,  a  very  sensible  costume  for  hot 
Aveather.  The  fashion  just  now  seems  to  be  for  all  the  ladies  to 
wear  large  white  shawls.  I  never  beheld  such  a  number  of 
white  shawls  mustered  ;  the  female  part  of  the  population  seem 
all  vouei  au  blanc.  It  is  very  seldom  you  see  anj'  eques- 
triennes in  these  Northern  cities.  Every  lady  chooses  rather  to 
walk  or  go  in  a  carriage.  Crowds  of  carriages,  private  and 
public,  are  to  be  seen  in  Broadway,  passing  and  repassing  every 


Letters  from  England,  by  Mrs.  George  Bancroft. 


HISTORIC  DRESS  IN  AMERICA 


237 


moment,  filled  with  ladies  beautifully  dressed  in  the  most 
elaborate  Parisian  toilets."  * 

A  column  in  the  "  Lady's  Book  "  (1849)  tells  of  the  winter 
fashions  in  Philadelphia  : 

"  We  will  describe  three  or  four  of  the  prettiest  costumes  of 
the  season,  that  our  lady  readers  may  gather  from  them  some 
idea  of  Chestnut  Street,  and  our  fashionable  concert-room,  the 
Musical  Fund  Hall : — 

"  A  walking  dress  of  dark  green  cashmere,  with  three  bias 
folds  upon  the  skirt,  graduating  in  depth,  and  edged  with  a 
narrow  bias  velvet  binding  of  the  same  shade.  Corsage  and 
sleeves  plain  and  tight,  a  velvet  fold  upon  the  short  cap  of  the 
sleeve,  and  a  corresponding  trimming  also  about  the  throat. 
White  cashmere  long  shawl  folded  carelessly.  Bonnet  of  deep 
green  velvet.  Marie  Stuart  brim,  edged  with  blond,  and  small 
plume  of  the  same  shade  as  the  bonnet. 

"  A  walking  dress  of  rich  brocade  silk,  blue  figures  upon  a 
fawn-coloured  ground.  Sacque  of  fawn-coloured  silk,  richly 
embroidered  in  blue.  Bonnet  of  blue  uncut  velvet,  with  folds 
and  bands  of  the  same,  mixed  with  blond. 

"  Dinner  dress  of  chameleon  silk,  blue  and  silver.  A  small 
Marie  Stuart  cap  of  blond  with  rosettes  of  pale  blue  satin  rib- 
bon." 

A  summer  walking  costume  of  1849  is  shown  in  the  initial 
of  this  chapter.  This  dress  is  of  foulard  silk  trimmed  with  rows 
of  velvet  ribbon  at  the  edge  of  the  flounces.  The  mantilla  is  of 
black  lace  and  the  bonnet  of  white  crape  trimmed  with  pink 
flowers  and  white  satin  ribbon. 

"  Evening  Dress. — Crape  robe  of  pale  rose-colour,  em- 
broidered up  the  front  of  the  skirt.  Girdle  of  broad  brocaded 
ribbon  the  same  shade,  with  flowing  ends.    Hair  arranged  in 

*  Travels  in  the  United  States,  by  Lady  Stuart  Wortley. 


1800-1865 

Figure  174. — 1804 — Boy  in  suit  of  striped  calico  and  ruffled  shirt. 

Figure  175. — 1812 — Little  girl  in  a  scarlet  cloth  pelisse  and  bonnet  to 
match.    Worn  by  Mary  Brinton,  of  Philadelphia. 

Figure  176. — 1822 — Girl  in  a  buff  cashmere  gown  with  long  white  sleeves. 
A  large  hat  with  brown  ribbon.    From  a  contemporary  print. 

Figure  177. — 1800 — Small  child  in  white  muslin  gown.    From  a  plate. 

Figure  178. — 1818 — Boy  in  striped  duck  pantaloons,  dark  blue  jacket  and 
waistcoat.    Dark  cloth  cap  with  visor.    From  a  contemporary  plate. 

Figure  179. — 1826 — Little  boy  in  white  dress  embroidered  in  blue,  over 
trousers  of  same  material.    From  a  contemporary  portrait. 

Figure  180. — 1828 — Little  girl  in  pink  gauze  dress.  Worn  by  Miss  Eliza- 
beth S.  Smith,  of  Philadelphia. 

Figure  181. — 1831 — Girl  in  green  and  white  silk  gown.  Green  silk  apron. 
Large  white  bonnet  of  Gros  de  Naples  with  white  ribbon.  Hair  in  Ken- 
wig  plaits.    From  a  plate. 

Figure  182. — 1832 — Boy  in  high  hat,  brown  kerseymere  tunic,  and  white 
pantaloons.    From  a  portrait. 

Figure  183. — 1834 — Girl  in  figured  lawn  dress.  Hair  in  plaits  twisted  and 
tied  with  lilac  ribbon. 

Figure  184. — 1837 — Little  girl  of  eight  in  brown  and  white  corded  muslin. 
Bonnet  from  contemporary  plate. 

Figure  185. — 1838 — Boy  of  fourteen.  High  hat  of  grey,  coat  of  bottle 
green,  grey  trousers. 

Figure  186. — 1848 — Little  boy  of  five.  The  waist  is  of  turquoise  blue 
merino,  scalloped  with  yellow  silk  and  buttoned  down  the  back  with 
gilt  buttons.    The  trousers  are  of  white  jean,  striped  with  black. 

Figure  187. — 1848 — Little  girl  from  fashion  plate  of  this  date.  The  dress  is 
of  pink  cashmere  trimmed  with  narrow  pink  velvet  ribbon.  Hat  of 
Leghorn  trimmed  with  pink  roses  and  pink  ribbon.  Pale  blue  kid 
shoes. 

Figure  189. — 1856 — Boy  of  three  in  costume  taken  from  an  Ambrotype. 

The  jacket  is  of  black  velvet  trimmed  with  black  braid  and  the  skirt 

of  plaid  poplin  ornamented  by  strips  of  black  velvet  ribbon. 
Figure  190. — 1857 — Girl  of  twelve  taken  from  a  fashion  magazine.  Cloak 

of  blue  grey  cloth  trimmed  with  black  velvet.    Hat  of  grey  trimmed 

with  blue  ribbon  and  blue  feathers.    Skirt  of  old  rose.    Shoes  brown. 
Figure  191. — 1853 — Little  boy  from  a  Daguerreotype.    Suit  of  brown 

merino  ornamented  with  gold  braid  and  gilt  buttons. 
Figure  192. — 1861 — Small  child  in  blue  cashmere  dress  with  white  apron 

tied  with  blue  ribbon  at  the  shoulders.    From  a  photograph. 
Figure  193. — 1865 — Boy  in  black  velvet  suit  trimmed  with  black  silk 

braid.    From  a  photograph. 


HISTORIC  DRESS  IN  AMERICA 


241 


plain  bands  with  a  wreath  of  mingled  sweetbrier  and  lily  of 
the  valley.  The  contrast  of  the  two  flowers  is  very  delicate  and 
beautiful.    Robe  imported  by  Levy,  wreath  by  Madam  Patot. 

"  The  prettiest  style  of  morning  dresses  are  of  cashmere." 

The  following  note  on  caps  and  capes  is  taken  from  an 
American  authority  : 

"No  unmarried  lady  should  wear  a  morning  cap;  it  is  the 
mark,  the  badge,  if  we  may  so  call  it,  of  the  young  matron. 
And  if  the  wife  cares  as  much  for  her  husband's  admiration 
after  marriage  as  before  it,  she  will  never  dispense  with  this 
tasteful,  coquettish  appendage  to  a  morning  toilette. 

"  There  has  been  an  attempt  this  season  to  make  up  delicate 
India  muslin  with  triple  embroidered  frills  of  the  same.  These 
are  quite  simple  and  require  only  a  bow  and  strings  of  some 
bright  coloured  ribbon  to  finish  them.  A  pretty  cap  is  com- 
posed of  Guipure  lace  (or  what  is  called  Guipure),  with  a  bow 
and  band  of  ribbon  and  noeuds  of  the  same  each  side  of  the  face. 
These  are  all  intended  for  plain  house-costumes  and  may  be 
worn  with  propriety  by  older  ladies. 

"  Capes  are  rarely  worn  in  the  morning,  and  are  more 
particularly  suited  to  dinner  or  small  evening  companies. 
They  are  worn  of  all  sizes  and  patterns,  as  may  be  seen  from 
Figures  134,  139  and  233.  A  favourite  style  is  of  lace;  Brus- 
sels or  a  fine  imitation  is  allowable.  The  ribbon  knot  should 
correspond  or  contrast  in  colour  with  the  dress  over  which  the 
cape  is  worn." 

Leghorn  hats  and  bonnets  were  very  fashionable  in  1849. 
The  "  Lady's  Book  "  for  the  summer  of  that  date  says  : 

"  In  trimming  a  Leghorn  bonnet,  the  richest  ribbon  is  re- 
quired and  it  should  be  of  some  pale  shade.  Dark  blue,  green, 
or  brown  have  a  bad  effect.  White  is  the  most  suitable,  and 
straw  colour  looks  well.    With  white  ribbon,  small  ostrich 


242 


HISTORIC  DRESS  IN  AMERICA 


plumes  tipped  with  marabout  are  often  seen.  Chip  bonnets  are 
next  in  cost,  and  perhaps  first  in  beauty.  Their  purity  allows 
them  to  be  trimmed  with  almost  anything  the  wearer's  complex- 
ion will  allow.  Bouquets  of  French  flowers  fastened  with  knots 
of  ribbon  are  graceful.  Embroidered  crape  bonnets  are  the 
newest.  They  are  both  simple  and  elegant,  and  were  introduced 
by  Miss  Wilson,  one  of  the  most  fashionable  Chestnut  Street 
(Philadelphia)  milliners,  direct  from  Paris.  The  material  is 
crepe  lisse  of  some  delicate  hue,  with  silk  floss  embroidery  about 
the  front  and  on  the  crown  piece.  The  cape  embroidered  to  cor- 
respond. Trimming  very  simple.  The  prettiest  one  we  have 
seen  was  a  pale  green  bonnet,  with  a  bouquet  of  purple  lilies  on 
each  side,  the  ribbon  just  crossing  over  the  top  of  the  bonnet; 
there  was  not  a  single  bow  in  the  whole  arrangement.  A  tulle 
quilling  and  a  single  lily  inside  the  brim.  Mourning  bonnets 
are  of  drawn  crape,  trimmed  with  crape  ribbon  which  is  a  new 
material." 

The  following  note  on  new  fashions  is  also  from  the  same 
authority  : 

"  Slippers,  as  we  have  before  said,  threaten  to  supersede 
gaiters  for  the  street.  The  toes  are  rounded,  and  the  instep 
ornamented  with  a  small  bow,  quite  as  our  grandmothers  rec- 
ollect them. 

"  The  hair  is  dressed  considerably  higher  than  formerly,  and 
puffed,  as  in  old  pictures,  over  a  cushion  at  the  back.  Combs 
are  principally  of  shell  with  round  tops,  that  curve  close  to  the 
head  at  the  side.  They  are  valued  according  to  the  newness  of 
the  pattern,  those  which  sold  for  fourteen  dollars  in  the  spring 
being  only  eight  dollars  now. 

"  A  new  style  of  dress  is  made  with  a  double  skirt  lined 
with  paper  muslin,  which  has  a  facing  of  the  silk  eight  inches 
in  depth.     Just  over  this  comes  the  real  skirt,  the  edge  of 


HISTORIC  DRESS  IN  AMERICA 


243 


which  is  scolloped,  and  bound  ;  it  does  not  meet  at  the  waist, 
but  opens  over  a  plain  breadth  faced  up  the  lining.  This  has 
exactly  the  effect  of  a  tunic.  Plain  waists  are  still  the  rage, 
there  being  two  seams  each  side  the  centre.  Sleeves  are  mostly 
plain,  or  slightly  full,  with  a  band  at  the  wrist.  Belts  are 
universally  worn  ;  some  have  them  set  into  the  dress." 

Looking  over  the  pages  of  the  "  Quarterly  Review "  we 
came  across  the  following  appreciation  of  the  dress  of  the  forties : 

"  The  present  dress  has  some  features  worth  dwelling  on 
more  minutely.  The  gown  is  a  good  thing,  both  in  its  morn- 
ing and  evening  form,  and  contains  all  necessary  elements  for 
showing  off  a  fine  figure  and  a  graceful  movement.  There  is 
something  especially  beautiful,  too,  in  the  expanse  of  chest  and 
shoulder,  as  seen  in  a  tight  plain-coloured  high  dress,  merino 
or  silk,  like  a  fair  sloping  sunny  bank,  with  the  long  taper 
arms  and  the  slender  waist  so  tempting  and  convenient  between 
them,  that  it  is  a  wonder  they  are  not  perpetually  embracing 
it  themselves.  And  then  the  long  full  folds  of  the  skirt  which 
lie  all  close  together  above,  like  the  flutings  of  an  Ionic  column, 
as  if  loth  to  quit  that  sweet  waist,  but  expand  gradually  below 
as  if  fearing  to  fetter  those  faiiy  feet.  And  the  gentle  swinging 
of  the  robe  from  side  to  side,  like  a  vessel  in  calmest  motion, 
and  the  silver  whisper  of  trailing  silk.  Flounces  are  a  nice 
question.  We  like  them  when  they  wave  and  flow  as  in  a  very 
light  material,  muslin  or  gauze  or  barege,  when  a  lady  looks 
like  a  receding  angel,  or  a  dissolving  view  ;  but  we  do  not  like 
them  in  a  rich  material  where  they  flop,  or  in  a  stiff  one,  where 
they  bristle  ;  and  where  they  break  the  lines  of  the  petticoat, 
and  throw  light  and  shade  where  you  don't  expect  them.  In 
short  we  like  the  gown  that  can  do  without  flounces,  as  Jo- 
sephine liked  a  face  that  could  do  without  whiskers  ;  but  in  either 
case  it  must  be  a  good  one.    The  plain  black  scarf  is  come  of 


244 


HISTORIC  DRESS  IN  AMERICA 


too  graceful  a  parentage — namely,  from  the  Spanish  and  Flemish 
mantilla — not  to  constitute  one  of  the  best  features  of  the  present 
costume.  It  serves  to  join  the  two  parts  of  the  figure  together, 
enclosing  the  back  and  shoulders  in  a  firm  defined  outline  of 
their  own,  and  flowing  down  gracefully  in  front,  or  on  each  side, 
to  mix  with  that  of  the  skirt.  That  man  must  be  a  monster 
who  would  be  impertinent  to  a  woman,  but  especially  to  a 
woman  in  a  black  scarf.  It  carries  an  air  of  self-respect  with  it 
Avhich  is  in  itself  a  protection.  A  woman  thus  attired  glides  on 
her  way  like  a  small  close-reefed  vessel,  tight  and  trim,  seeking 
no  encounter  but  prepared  for  one.  Much,  however,  depends 
on  the  wearer  ;  indeed  no  article  of  dress  is  such  a  revealer  of 
the  wearer's  character.  Some  women  will  drag  it  tight  up  their 
shoulders,  and  stick  out  their  elbows  (which  ought  not  to  be 
known  to  exist)  in  defiance  at  you,  beneath.  Others  let  it  hang 
loose  and  listless  like  an  idle  sail,  losing  all  the  beauty  of  the 
outline,  both  moral  and  physical.  Such  ladies  have  usually  no 
opinions  at  all,  but  none  the  less  a  very  obstinate  will  of  their 
own.  Some  few  of  what  are  nowadays  called  mantillas,  which 
are  the  Cardinals  and  Capuchins  of  a  century  ago,  are  pleasing 
and  blameless.  A  black  velvet  one  turned  up  with  a  broad 
dull  black  lace,  the  bright  metal  chased  with  dead,  is  very  good. 
But  whatever  piece  of  dress  conceals  a  woman's  figure  is  bound 
in  justice  to  do  so  in  a  picturesque  way.  That  a  shawl  can  never 
do  with  its  stiff  uniformity  of  pattern,  each  shoulder  alike,  and 
its  stiff  three-cornered  shape  behind  with  a  scroll  pattern  stand- 
ing straight  up  the  centre  of  the  back.  If  a  lady  sports  a  shawl 
at  all,  and  only  very  falling  shoulders  should  venture,  we 
should  recommend  it  to  be  always  either  falling  off  or  putting 
on,  which  produces  pretty  action,  or  she  should  wear  it  up  one 
shoulder  and  down  the  other,  or  in  some  way  drawn  irregularly, 
so  as  to  break  the  uniformity." 


Women's  Dress 


1850-1 860 

"  Fashions  that  are  now  called  new 
Have  been  worn  by  more  than  you  ; 
Elder  times  had  worn  the  same 
Though  the  new  ones  get  the  name." 

— MlDDLETON. 

NOTICEABLE  feature  of  the  dress  of  1850 
was  the  basque,  a  bodice  with  short  skirt 
or  tails  below  the  waist  line.  According 
to  the  fashion  plates  of  that  period  an 
attempt  had  been  made  to  introduce  this 
style  of  dress  late  in  the  forties,  but  it 
did  not  become  a  popular  fashion  until 
early  in  the  fifties. 

Basques  made  of  velvet  of  some  dark 
colour  were  worn  with  silk  skirts  of  contrasting  design.  A 
black  velvet  basque  which  could  be  worn  with  any  skirt  was  in 
almost  every  woman's  wardrobe.  Even  riding  habits  were  made 
in  this  popular  style,  as  will  be  seen  in  the  pages  of  "  Punch  " 
for  1850. 

At  that  time  Prince  Albert  had  proposed  to  have  the  Indus- 
trial Palace  built  in  Hyde  Park,  which  would  have  spoiled  the 
famous  resort  of  English  horsewomen,  Rotten  Row.  The  sug- 
gestion caused  a  flutter  of  indignation  which  found  expression 
in  the  following  verses  : 

245 


246 


HISTORIC  DRESS  IX  AMERICA 


"  Then  take  our  lives  and  spare  our  ride  the  ouly  place  we  know, 
Where  ladies  pent  in  London  for  exercise  can  go. 
'Tis  not  with  us  as  with  our  lords  for  they,  the  park  beside, 
Have  got  the  House  of  Commons  where  their  hobbies  they  can  ride. 
The  Prince  looked  grim,  it  was  his  whim,  humbugged  he  would  not  be, 
When  lo  !  a  stately  lady  is  kneeling  at  his  feet 
I  too  would  ride,  she  sweetly  said,  so  Albert  if  you  please 
Don't  there's  a  darling,  for  my  sake  please  don't  cut  down  the  trees." 

India  muslins,  embroidered  in  colours,  were  popular  at  this 
period.  In  Figure  266  is  given  a  picture  of  a  dainty  gown  of 
this  material  which  was  worn  in  Philadelphia  about  1853. 

Chemisettes  and  undersleeves  were  still  worn  and  were 
more  or  less  elaborate  for  different  occasions.  Flounces  were 
extremely  popular ;  as  many  as  five  were  worn  at  a  time,  the 
upper  flounce  being  gathered  in  with  the  skirt  at  the  waist. 

Early  in  this  decade  a  novel  and  very  hideous  costume  was 
devised  by  Mrs.  Bloomer,  editor  of  a  temperance  journal  in  the 
United  States,  who  went  about  the  country  giving  lectures  in 
1851-1852,  on  Woman's  Suffrage,  and  advertised  the  new  dress 
henceforth  known  as  the  "  Bloomer  costume."  By  way  of 
manifesting  the  independence  of  her  sex  she  advised  the  women 
to  adopt  a  part  at  least  of  the  customary  costume  of  the  men. 
This  was  her  idea  of  a  reform  in  woman's  dress  : 

"  A  skirt  reaching  to  about  half-way  between  the  knees  and 
the  ankles  and  not  very  full.  Underneath  the  skirt  trousers 
moderately  full,  and  in  fair  weather  coming  down  to  the  ankle 
and  there  gathered  in  with  an  elastic  band.  The  shoes  or  slip- 
pers to  suit  the  occasion.  For  winter  or  wet  weather  the 
trousers  should  be  fastened  under  the  top  of  a  boot  reaching 
three  or  four  inches  above  the  ankle.  This  boot  might  be 
sloped  gracefully  at  the  upper  edge  and  trimmed  with  fur  or 
embroidery  according  to  the  taste  of  the  wearer,  the  material 
might  be  cloth  or  morocco,  and  waterproof  if  desired." 


HISTORIC  DRESS  IN  AMERICA 


247 


The  upper  part  of  this  costume  was  left  to  be  determined  by 
the  individual  fancy  of  the  wearer.  Mrs.  Bloomer  had  a  pic- 
ture taken  exemplifying  her  favourite  dress,  a  copy  of  which  is 
given  in  Figure  152.  "  The  fashion,"  we  read,  "  did  not  fail  to 
make  itself  apparent  in  various  parts  of  the  United  States." 
The  "Washington  Telegraph,"  the  "Hartford  Times,"  the 
"  Syracuse  Journal  "  and  many  other  leading  papers  "  noticed 
the  adoption  of  the  costume  and  generally  with  commenda- 
tion." In  the  autumn  of  1851  an  American  woman  dressed  in 
a  black  satin  suit  of  jacket,  skirt  and  trousers  gave  lectures  in 
London  urging  the  adoption  of  the  reform  dress,  but  succeeded 
only  in  raising  a  storm  of  merriment  on  the  subject.  Even  in 
America  the  Bloomer  costume  soon  became  a  thing  of  the  past. 
In  Figure  211  we  give  a  photograph  of  a  doll  dressed  in  this 
eccentric  fashion,  which  was  the  cherished  pithing  of  a  little 
Quaker  girl  in  Pennsylvania. 

The  invention  of  Mrs.  Bloomer  was  soon  cast  into  oblivion 
by  the  marvellous  creations  of  the  beautiful  Empress  Eugenie, 
whose  dresses  became  the  envied  models  of  the  world  of  fashion 
in  1853.  We  read  that  "  a  glimpse  of  the  Empress  in  the  drive 
through  the  Bois  de  Boulogne  sufficed  to  set  the  fair  observers 
to  work  upon  a  faithful  reproduction  of  her  costume,  and  her 
toilette  on  the  occasion  of  a  ball  at  the  Tuileries  afforded  food 
for  thought  during  many  days  to  those  who  had  been  present." 
At  the  civil  marriage  on  the  evening  of  January  29, 1853,  which 
took  place  in  comparative  privacy,  Eugenie  wore  a  white  satin 
gown  trimmed  with  lace,  with  two  rows  of  magnificent  pearls 
around  her  neck,  and  flowers  in  her  hair,  and  at  the  religious 
ceremony  on  the  following  morning,  in  Notre  Dame,  she  wore  a 
gown  of  white  velvet  with  a  long  train  covered  with  lace  in  a 
design  of  violets  which  is  said  to  have  been  worth  at  least 
30,000  francs.    Around  her  waist  was  a  belt  of  diamonds  and 


1806-1870 

Figure  194. — 1806 — Boy  in  brown  suit  of  kerseymere ;  collar  and  ankle 
ruffles  of  white  cambric.  Cap  with  full  soft  crown  and  visor.  From  a 
print. 

Figure  195. — 1807 — Boy  in  short  sleeved  tunic  of  blue  cloth  over  white  full 
trousers.  Black  slippers  and  straw  hat.  Mother  in  short  dress  of 
jaconet  muslin,  black  silk  mantle  trimmed  with  lace.  Shirred  muslin 
bonnet.    Pagoda  parasol.    From  a  print. 

Figure  196. — 1822 — Girl  in  dress  of  apricot  gauze,  worn  in  Philadelphia. 

Figure  197. — 1833 — Boy  in  suit  of  brown  kerseymere,  white  waistcoat  and 
black  tie.    From  a  portrait. 

Figure  198. — 1833 — Boy  in  leg-of-mutton  trousers  of  green  kerseymere. 
From  a  print. 

Figure  200. — 1860 — Child's  turban  hat  and  feather.    From  a  photograph. 
Figure  201. — 1862 — Girl  in  a  checked  silk  over  a  white  guimpe.  Braids 

tied  at  the  back  with  a  ribbon  and  ends.    Gaiter  boots.    From  a 

photograph. 

Figure  202. — 1862 — Boy  in  a  grey  tweed  suit  and  striped  stockings.  From 
a  photograph. 

Figure  203. — 1806— Child's  hat  with  straw  buttons  and  strings  of  white 

ribbon.    School  of  Industrial  Art,  Philadelphia. 
Figure  204. — 1864— Boy  in  a  brown  suit  braided  in  black.    Little  girl  in 

pale  blue  cashmere  trimmed  with  quilled  ribbon  to  match  and  worn 

over  a  white  guimpe.    From  a  plate. 
Figure  205. — 1861 — Girl  in  a  Zouave  jacket  and  skirt.    Hair  in  a  net  of 

chenille.    From  a  photograph. 
Figure  206. — 1865 — Boy  of  sixteen  in  a  short  round  coat  and  long  trousers. 

From  a  photograph. 
Figure  207. — 1870 — Little  girl  of  this  date.    From  a  fashion  plate. 


HISTORIC  DRESS  IN  AMERICA 


251 


she  had  the  same  coronet  of  brilliants  which  Marie  Louise  had 
worn  on  her  wedding  day,  to  which  was  fastened  a  long  lace 
veil  and  a  wreath  of  orange  blossoms. 

The  description  of  the  famous  dressing-room  of  the  Empress 
Eugenie  at  the  Tuileries,  with  its  revolving  mirrors,  etc.,  has 
often  been  recounted.  On  the  upper  floor  over  this  dressing- 
room,  and  connected  with  it  by  a  lift  and  a  speaking  tube,  were 
the  rooms  set  apart  for  her  personal  attendants  and  her  ward- 
robe. "  Separate  rooms,"  we  are  told,  "  were  devoted  to  hats 
and  bonnets,  boots  and  shoes,  sunshades,  dust  cloaks.  Each 
morning  a  life-sized  doll  made  to  resemble  the  figure  of  the 
Empress  was  carefully  dressed  in  every  particular  and  sent 
down  by  the  lift  and  exhibited  before  her.  In  spite  of  the  pains 
taken  by  the  dressmakers  and  tailors  to  please  her  it  was  a 
rare  occurrence  for  a  gown  to  satisfy  her  entirely  ;  she  criticized, 
altered  and  rejected  incessantly  until  she  succeeded  in  recom- 
posing  the  costumes  to  her  satisfaction."  The  second  empire  of 
the  hoop-skirt  was  inaugurated  in  1854,  and  in  spite  of  jeers, 
jibes  and  caricatures  held  its  sway  over  feminine  taste  to  the  ex- 
clusion of  beauty  and  convenience.  We  read  that  "  the  first 
form  of  this  invention  was  a  whalebone  skirt  not  unlike  a  bee- 
hive ;  the  largest  circumference  was  around  the  hips  whence  the 
rest  of  the  dress  fell  in  perpendicular  lines  ;  others  preferred 
hoops  arranged  like  those  on  a  barrel."  But  the  most  popular 
form  of  hoop-skirt  was  made  of  graduated  steel  wires  covered 
with  a  woven  cotton  netting  held  together  by  perpendicular 
straps  of  broad  tape.  A  picture  of  a  genuine  skirt  of  this 
description  is  given  in  Figure  154.  It  was  worn  in  Pennsyl- 
vania about  1856.  More  unassuming  followers  of  fashion  lined 
the  edges  of  their  gowns  with  horsehair  and  their  flounces 
with  stiff  muslin.  Petticoats  were  also  made  with  casings 
around  them  at  intervals,  into  which  canes  were  run. 


252 


HISTORIC  DRESS  IN  AMERICA 


Numerous  are  the  tales  of  accidents  which  happened  to  the 
wearers  of  the  fashionable  hoops.  A  very  thrilling  escape  is  re- 
counted by  Lady  Neville  in  her  recently  published  diary.  She 
speaks  of  the  offending  garment  as  "  that  monstrosity  the  crino- 
line, which  once  came  near  costing  me  my  life  ;  in  fact  I  only 
escaped  a  terrible  fate  through  mercifully  retaining  my  presence 
of  mind.  It  was  in  the  drawing-room  one  evening  after  dinner, 
before  the  gentlemen  had  joined  us  there,  that  my  dress  caught 
fire.  I  was  showing  a  lady  an  engraving  of  Mr.  Cobden 
which  he  had  just  given  me  and  which  hung  over  the  fireplace. 
Somehow  or  other  my  voluminous  skirt  caught  fire  and  in  an 
instant  I  was  in  a  blaze,  but  I  kept  my  presence  of  mind,  and 
rolling  myself  in  the  hearth  rug  by  some  means  or  other  even- 
tually put  out  the  flames.  None  of  the  ladies  present  could  of 
course  come  to  assist  me  for  their  enormous  crinolines  rendered 
them  almost  completely  impotent  to  deal  with  fire."  * 

In  Watson's  "Annals"  (1856)  a  caustic  arraignment  of  this 
fashion  appeared  under  the  heading  "  Hoops  Again  "  : 

"  We  had  hoped  that  our  ladies  would  never  again  be 
brought  to  use  such  ill-looking,  useless  and  deforming  append- 
ages to  their  dresses.  They  are,  too,  so  annoying  and  engrossing 
of  place  and  room  in  omnibuses,  rail  cars,  and  in  church  pews 
and  aisles,  and  why  all  this ;  but  as  spellbound  subservients  to 
some  foreign  spell ;  one  feels  scandalized  for  '  the  Land  of  the 
Free ! '  Nor  is  this  all.  Ladies  who  profess  to  be  Christians 
and  communicants  too,  pledged  1  to  renounce  the  vain  pomp 
and  vanities  of  the  world,  and  not  to  be  led  thereby,'  go  up  to 
the  sacramental  altar,  shoAving  before  the  eyes  of  all  beholders 
an  unseemly  vanity  !  " 

The  prices  current  in  Philadelphia  in  1856  provoked  the 
aged  annalist  to  an  outburst  of  righteous  indignation  : 

*  Reminiscences  of  Lady  Dorothy  Neville. 


HISTORIC  DRESS  IN  AMERICA 


253 


"  Extravagance  in  Dress 

"  At  this  time  a  fashionable  dry  goods  store  advertises  a 
lace  scarf  for  1,500  dollars!  Another  has  a  bridal  dress  for 
1,200  dollars.  Bonnets  at  200  dollars  are  also  sold.  Cashmeres 
from  300  dollars  and  upwards  are  seen  by  dozens  along  Broad- 
way. And  100  dollars  is  quite  a  common  price  for  a  silk  gown. 
Think  of  such  a  scale  of  prices  for  '  un-ideaed '  American 
women  !  Can  the  pampering  of  such  vanities  elevate  the  char- 
acter of  our  women  ?  " 

"  The  Rise  and  Fall  of  Crinoline  "  is  delightfully  set  forth  in 
"Punch."  Figure  153  is  copied  from  a  cartoon  of  1857, 
and  shows,  besides  the  crinoline,  the  fashionable  wrap  and 
bonnet.  A  glimpse  of  a  head-dress  of  bows  of  ribbons,  which 
was  also  characteristic  of  the  period,  is  shown  on  the  left  side  of 
the  picture. 

The  dress  shown  in  Figures  255  and  268  is  made  of  a 
rich  lustrous  silk  which  stands  out  by  itself,  although  it  was 
evidently  assisted  by  crinoline  in  the  days  of  its  youth.  The 
prevailing  colour  is  brown,  the  alternate  stripes  being  a  cross- 
bar pattern  of  two  shades  of  brown,  and  a  pattern  of  variegated 
roses  en  chinL  The  trimmings  are,  according  to  the  fashion  of 
the  fifties,  made  to  match  the  dress,  the  colours  brown  and 
pink  being  woven  into  the  fringe  and  the  guimpe  heading. 
The  lace  collar  and  the  brooch  are  also  copied  from  originals 
and  were  worn  in  Philadelphia  in  1855.  The  hair  is  taken 
from  a  contemporary  portrait. 

Deep  collars  were  worn  at  this  time  (see  Figure  255)  and 
bonnets  were  shallower  in  the  crown  and  worn  back  from  the 
face  as  in  Figures  149,  268  and  269. 

Cashmere  shawls  and  inexpensive  imitations  of  them  were 
worn  very  generally  throughout  the  fifties.  A  very  beautiful 
specimen  of  the  former  is  shown  in  the  initial  to  this  chapter. 


254 


HISTOEIC  DEESS  IN"  AMERICA 


It  was  worn  in  Philadelphia  by  Mrs.  Emlen  Cresson.  Tunisian 
shawls,  manufactured  from  silk  refuse  and  usually  woven  in 
stripes  of  two  colours,  were  worn  in  summer,  and  a  very  graceful 
wrap,  the  Algerian  burnous,  was  introduced  at  this  time,  and 
became  a  favourite  garment  for  theatre  wear.  The  material  was 
a  mixture  of  silk  and  goat's  hair,  and  the  full  flowing  lines  of 
this  Arab  mantle  with  a  sort  of  hood  finished  with  a  tassel,  were 
not  ungraceful  even  over  the  fashionable  hooped  skirt.  Beaver 
hats  with  long  ostrich  feathers  were  worn  by  }'oung  ladies  in 
1859.    At  least  one  American  girl  bears  witness  to  this  fashion  : 

"  I  wonder  if  my  descendants,  should  they  ever  read  these 
memoirs,  will  be  shocked  at  the  levity  of  an  ancestress  who 
frankly  acknowledges  that  the  most  vivid  recollection  left  in 
her  mind  is  a  grey  merino  pelisse  and  black  beaver  hat  and 
plumes,  with  which  her  small  person  was  decked  during  the 
winter  of  1859."  * 

The  fashionable  shape  for  several  years  was  a  shallow  crown 
and  soft,  wide  drooping  brim  like  the  picture  of  a  fine  straw  hat 
trimmed  with  ribbon  copied  from  a  fashion  plate  of  1857 
given  in  Figure  253  and  the  soft  felt  hat  in  Figure  258. 

Mrs.  Clay,  the  wife  of  the  Senator  from  Alabama,  spent 
man}'  years  in  Washington  at  that  prosperous  and  pleasant 
period  of  American  history,  "  before  the  war."  In  her  most  en- 
tertaining Diary  she  gives  very  valuable  notes  on  the  fashions 
of  the  fifties,  although  we  may  not  agree  with  her  in  pronounc- 
ing them  "  graceful  and  picturesque." 

"In  1858-59  the  hair  was  arranged  on  the  top  of  the  head  in 
heavy  braids,  wound  like  a  coronet,  over  the  head  (Figure  255), 
and  the  coiffure  was  varied  now  and  then  with  a  tiara  of  velvet 
and  pearls,  or  jet,  or  coral.  Ruffled  dresses  gave  place  to 
panelled  skirts  in  which  two  materials,  a  plain  and  embossed  or 

*A  Southern  Girl  in  1861. 


HISTORIC  DRESS  IN  AMERICA 


255 


brocaded  fabric,  were  combined,  and  basques  with  postillion 
backs  became  the  order  of  the  day.  The  low-coiled  hair,  with 
brow  free  from  frizzes  and  bangs,  was  the  style  adopted  by  such 
prominent  beauties  as  Mrs.  Pugh  and  Mrs.  Pendleton,  who  in 
Lord  Napier's  opinion  had  the  most  classic  head  he  had  seen  in 
America.  Low  necks  and  lace  berthas,  made  fashionable  be- 
cause of  their  adoption  by  Miss  Lane,*  were  worn  almost  univer- 
sally, either  with  open  sleeves  revealing  inner  ones  of  filling 
lace,  or  sleeves  of  the  shortest  possible  form  allowing  the 
rounded  length  of  a  pretty  arm  to  be  seen  in  all  its  perfection. 
Evening  gloves  were  of  half  length  only,  or  as  often  reaching 
half  way  to  the  elbow.  They  were  of  kid  or  silk  with  backs 
embroidered  in  delicate  silks  with  now  and  then  a  jewel  spark- 
ling among  the  colours.  Our  gloves  and  our  fans  and  handker- 
chiefs and  bonnets  and  the  larger  part  of  our  dress  accessories, 
as  well  as  such  beautiful  gown  patterns  as  were  purchased  ready 
to  be  made  up  by  a  New  York  or  Washington  dressmaker,  were 
all  imported  directly  from  foreign  houses  and  the  services  of  our 
travelling  and  consular  friends  were  in  constant  requisition  for 
the  selection  of  fine  lace  shawls,  flounces,  undersleeves  and 
other  fashionable  garnitures.  Scarcely  a  steamer  but  brought 
to  the  Capital  dainty  boxes  of  Parisian  flowers,  bonnets  and 
other  foreign  novelties  despatched  by  such  interested  deputies."  f 

Speaking  of  shopping  in  Washington,  another  gifted  woman 
of  the  South  has  recorded  her  own  experiences  in  a  book  which 
we  venture  to  say  will  always  hold  a  high  place  among  con- 
temporary histories  of  that  unhappy  period  of  our  national  life.  J 

"...  There  were  few  shops.  But  such  shops  !  There 
was  Gait's,  where  the  silver,  gems  and  marbles  were  less  attract- 

*  Niece  of  President  Buchanan. 

f  A  Belle  of  the  Fifties  :  Memoirs  of  Mrs.  Clay,  1855-56. 
t  Reminiscences  of  Peace  and  War,  hy  Mrs.  Roger  A.  Pryor. 


256 


HISTORIC  DRESS  IN  AMERICA 


ive  than  the  cultivated  gentlemen  who  sold  them  ;  Gautier's, 
the  palace  of  sweets,  with  Mrs.  Gautier  in  an  armchair  before 
her  counter  to  tell  you  the  precise  social  status  of  every  one  of 
her  customers  and,  what  is  more,  to  put  you  in  your  own  ;  Har- 
per's, where  the  dainty,  leisurely  salesman  treated  his  laces  with 
respect,  drawing  up  his  cuffs  lest  they  touch  the  ethereal 
beauties;  and  the  little  corner  shop  of  stern  Madame  Delarue, 
who  imported  as  many  (and  no  more)  hats  and  gloves  as  she 
was  willing  to  sell  as  a  favour  to  the  ladies  of  the  diplomatic 
and  official  circles,  and  whose  dark-eyed  daughter,  Leonide 
(named  for  her  godmother,  a  Greek  lady  of  rank),  was  sus- 
ceptible of  unreasoning  friendships  and  could  be  coaxed  to  pre- 
serve certain  treasures  for  humbler  folk. 

"  Leonide  once  awoke  me  in  the  middle  of  the  night  with  a 
note  bidding  me  '  come  toute  de  suite,'  for  1  Maman '  was  asleep  ; 
the  boxes  had  arrived  and  she  and  I  could  peep  at  the  bonnets 
and  choose  the  best  one  for  myself.  Thus  it  was  that  I  once 
bore  away  a  '  divine  creation  '  of  point  lace,  crape  and  shaded 
asters  before  Madame  had  seen  it.  Otherwise  it  would  have 
been  reserved  for  Miss  Harriet  Lane  or  Mrs.  Douglas.  Madame 
had  to  know  later  ;  and  Leonide  was  not  much  in  evidence  the 
rest  of  that  season.  At  Madame  Delarue's,  if  one  was  very 
gentil,  very  convenable,  one  might  have  the  services  of  Francois, 
the  one  and  only  hair-dresser  of  note,  who  had  adjusted  coronets 
-  on  noble  heads,  and  who  could  (if  so  minded)  talk  of  them 
agreeably  in  Parisian  French." 

"  Le  Follet "  was  the  great  Parisian  authority  whose  dictates 
were  published  every  month  not  only  in  England  but  also  in 
the  United  States.  At  the  close  of  this  decade,  a  tendency 
to  exaggeration  in  the  prevailing  fashions  may  be  noticed 
which  called  forth  the  following  satire  from  Mr.  Punch  :  * 

*  Punch,  1839. 


HISTORIC  DRESS  IN  AMERICA 


257 


"  From  '  Le  Follet '  of  this  month,  we  have  the  pleasure  of 
learning  that  '  the  robes  are  generally  made  with  five  or  seven 
flounces,  the  top  one  not  reaching  higher  than  the  knee.'  This 
is  extremely  moderate,  and  husbands,  with  incomes  under  £300 
a  year,  will  be  delighted  to  learn  that  the  number  is  so  limited. 
For  ourselves,  we  think  '  seven  flounces  '  positively  absurd,  and 
you  might  as  well  have  none  at  all,  if  they  are  not  to  go  any 
higher  than  the  knee.  We  had  hoped  to  see  a  lady  who  was  all 
flounces — a  regular  muslin  La  Scala,  tier  upon  tier  of  flounces 
rising  right  up  to  the  proscenium.  The  time  was  when  you 
could  not  distinguish  the  dress  from  the  profusion  of  the  trim- 
mings. If  they  keep  falling  off  in  this  way,  we  shall  soon  be 
able  to  see  what  the  pattern  of  a  lady's  dress  is  like. 

"  Further  on  '  Le  Follet '  tells  us  confidentially  that  it  '  pre- 
fers a  skirt  completely  bouillonnei,  notwithstanding  the  incon- 
venience of  its  holding  the  dust.'  We  do  not  know  what 
bouillonnee  exactly  means.  We  are  perfectly  aware  that  bouillon 
means  broth,  but  still  it  is  a  mystery  to  us  how  any  one  can 
prefer  a  skirt  that  is  bouillonfed  all  over,  for  we  have  noticed 
ladies,  who  at  dinner  have  had  a  little  soup  spilt  over  their 
dress,  look  as  though  they  did  not  altogether  like  it ;  nor  can 
we  see  how  '  broth  '  and  '  dust '  would  go  very  well  together. 
Supposing  they  do,  the  recommendation  of  this  new  fashion 
seems  to  be  that  it  enables  every  lady  to  be  her  own  Dust 
Carrier.  The  scavengers  ought  to  be  very  much  obliged  to 
them. 

"With  regard  to  bonnets  we  are  informed  that  'thin  bonnets 
are  usually  made  with  double  curtains.'  Why  not  have  your 
bonnet  like  an  old  four-post  bedstead,  with  curtains  all  round 
it?  It  would  be  much  cooler,  though  we  have  a  difficulty  in 
seeing  what  great  use  there  is  in  having  a  bonnet  at  all,  when 
you  have  a  couple  of  curtains  to  hide  it !    We  cannot  help  star- 


Figure  208.— 1829- 
Figure  209.— 1840 
Figure  210.— 1855 
Figure  211.— 1851 


1829-1855 
Paper  doll  of  this  date  and  her  outfit. 
•Doll  in  wedding  dress  and  veil. 
•Patent-headed  doll  in  pantalettes. 
-Wax  doll  in  Bloomer  costume. 


HISTORIC  DRESS  IN  AMERICA 


201 


ing  also  at  the  notion  of  a  1  thin  bonnet.'  The  thinness  may  be 
in  consequence  of  the  weather." 

The  custom  of  wearing  mourning  has  always  been  combated 
by  the  masculine  mind.  Trollope's  veiled  satire  on  the  con- 
ventional costume  of  an  English  widow  is  a  touch  of  nature 
that  awakens  an  echo  of  kinship  in  men  the  whole  world  over. 
We  recall  Mrs.  Greenow  in  "  Can  You  Forgive  Her  "  : 

"  The  Widow  was  almost  gorgeous  in  her  weeds.  I  believe 
that  she  had  not  sinned  in  her  dress  against  any  of  those  canons 
which  the  semi-ecclesiastical  authorities  on  widowhood  have 
laid  down  for  outward  garments  fitted  for  gentlemen's  rel- 
icts. The  materials  were  those  which  are  devoted  to  the 
deepest  conjugal  grief.  As  regarded  every  item  of  the  written 
law  her  suttee  worship  was  carried  out  to  the  letter.  There  was 
the  widow's  cap,  generally  so  hideous,  so  well  known  to  the 
eyes  of  all  men,  so  odious  to  womanhood.  Let  us  hope  that 
such  head-gear  may  have  some  assuaging  effect  on  the  departed 
spirits  of  husbands.  There  was  the  dress  of  deep,  clinging, 
melancholy  crape,  of  crape  which  becomes  so  brown  and  so 
rusty,  and  which  makes  the  six  months'  widow  seem  so  much 
more  afflicted  a  creature  than  she  whose  husband  is  just  gone, 
and  whose  crape  is  therefore  new.  There  were  the  trailing 
weepers,  and  the  widow's  kerchief  pinned  close  round  her  neck, 
and  somewhat  tightly  over  her  bosom.  But  there  was  that  of 
genius  about  Mrs.  Greenow,  that  she  had  turned  every  seeming 
disadvantage  to  some  special  profit,  and  had  so  dressed  herself 
that  though  she  had  obeyed  the  law  to  the  letter,  she  had 
thrown  the  spirit  of  it  to  the  winds.  Her  cap  sat  jauntily  on 
her  head,  and  showed  just  so  much  of  her  rich  brown  hair  as  to 
give  her  the  appearance  of  youth  which  she  desired.  .  .  . 
She  spent  more  money,  I  think,  on  new  crape  than  she  did  on 
her  brougham.    It  never  became  brown  and  rusty  with  her,  or 


202  HISTORIC  DRESS  IN  AMERICA 

formed  itself  into  old  lumpy  folds,  or  shaped  itself  round  her 
like  a  grave  cloth.  The  written  law  had  not  interdicted  crino- 
line, and  she  loomed  as  large  with  weeds,  which  with  her  were 
not  sombre,  as  she  would  do  with  her  silks  when  the  period  of 
her  probation  should  be  over.  Her  weepers  were  bright  with 
newness,  and  she  would  waft  them  aside  from  her  shoulder 
with  an  air  which  turned  even  them  into  auxiliaries.  Her  ker- 
chief was  fastened  close  round  her  neck  and  close  over  her 
bosom ;  but  Jeannette  well  knew  what  she  was  doing  as  she 
fastened  it,  and  so  did  Jeannette's  mistress." 

In  Figure  271,  a  peignoir  or  house  gown  of  pink  cachemire, 
trimmed  with  a  Persian  border,  is  given.  It  opens  over  a 
white  embroidered  petticoat.  The  sleeves  are  full,  showing 
white  undersleeves  at  the  wrist.  In  Figure  264  a  mantilla  of 
black  velvet,  trimmed  with  Chantilly  lace,  pictures  a  fashionable 
outdoor  garment  in  the  fifties. 


Women's  Dress 


1860-1870 

IP acoutumace  nous  rend  familier 
Ce  que  nous  parassait  terrible  et  singulier." 

N  the  year  1860  Fashion  had  set  its  seal  on 
the  most  exaggerated  form  of  the  hoop- 
skirt.  We  are  told  that  it  was  not  really 
ungraceful  when  first  introduced  by  the 
Empress  Eugenie,  but  there  was  no  grace 
whatever  about  the  hoop-skirt  of  the  six- 
ties. From  our  point  of  view,  accustomed 
to  many  years  of  clinging  draperies,  it 
seems  almost  incredible  that  women  of 
judgment  and  taste  could  ever  have  adopted  this  monstrosity  of 
Fashion.  Nevertheless  there  are  reams  of  contemporary  evi- 
dence to  prove  that  it  was  universally  worn  and  by  women  of  all 
classes.    A  popular  song  runs  thus  : 

"  Now  crinoline  is  all  the  rage  with  ladies  of  whatever  age, 
A  petticoat  made  like  a  cage — oh,  what  a  ridiculous  fashion  ! 
'Tis  formed  of  hoops  and  bars  of  steel,  or  tubes  of  air  which  lighter 
feel, 

And  worn  by  girls  to  be  genteel,  or  if  they've  figures  to  conceal. 

It  makes  the  dresses  stretch  far  out  a  dozen  yards  or  so  about, 

And  pleases  both  the  thin  and  stout — oh,  what  a  ridiculous  fashion  !  " 

The  noted  historian,  McCarthy,  in  his  "  Portraits  of  the 

Sixties,"  although  not  without  prejudice  in  matters  of  much 

263 


201 


HISTOEIC  DEESS  IN  AMERICA 


greater  importance,  bears  such  witness  to  the  prodigious  spread 
of  the  crinoline  in  circumference  and  popular  esteem  as  cannot 
be  denied.    We  give  his  animadversion  in  his  own  words  : 

"  There  is  one  peculiarity  belonging  to  the  early  sixties  which 
I  cannot  leave  out  of  notice,  although  assuredly  it  has  little 
claim  to  association  with  art  or  science,  with  literature  or 
politics.  The  early  sixties  saw  in  this  and  most  other  civilized 
countries  the  reign  of  crinoline.  It  is  well  for  the  early  sixties 
that  they  had  so  many  splendid  claims  to  historical  recollec- 
tion, but  it  may  be  said  of  them  that  if  they  had  bequeathed  no 
other  memory  to  a  curious  and  contemplative  posterity,  the 
reign  of  crinoline  would  still  have  secured  for  them  an  abiding- 
place  in  the  records  of  human  eccentricities.  I  may  say,  with- 
out fear  of  contradiction,  that  no  one  who  was  not  living  at  the 
time  can  form  any  adequate  idea  of  the  grotesque  effect  pro- 
duced on  the  outer  aspects  of  social  life  by  this  article  of  femi- 
nine costume.  The  younger  generation  may  turn  over  as  much 
as  it  will  the  pages  of  '  Punch,'  which  illustrate  the  ways  and 
manners  of  civilization  at  that  time,  but  with  all  the  undeniable 
cleverness  and  humour  of  'Punch's'  best  caricatures,  the 
younger  generation  can  never  fully  realize  what  extraordinary 
exhibitions  their  polite  ancestresses  made  of  themselves  during 
that  terrible  reign  of  crinoline.  .  .  .  The  fashion  of  crino- 
line defied  caricature  for  the  actual  reality  was  more  full  of  un- 
picturesque  and  burlesque  effects  than  any  satirical  pencil  could 
realize  on  a  flat  outspread  sheet  of  paper.  The  fashion  of 
crinoline,  too,  defied  all  contemporary  ridicule.  A  whole  new 
school  of  satirical  humour  was  devoted  in  vain  to  the  ridicule 
of  crinoline.  The  boys  in  the  streets  sang  comic  songs  to 
make  fun  of  it,  but  no  street  bellowings  of  contempt  could 
incite  the  wearers  of  this  most  inconvenient  and  hideous  article 
of  dress  to  condemn  themselves  to  clinging  draperies.  Crino- 


HISTORIC  DRESS  IN  AMERICA 


265 


line,  too,  created  a  new  sort  of  calamity  all  its  own.  Every 
day's  papers  gave  us  fresh  accounts  of  what  were  called  crino- 
line accidents,  cases,  that  is  to  say,  in  which  a  woman  was 
severely  burned  or  burned  to  death  because  of  some  flame  of 
fire  or  candle  catching  her  distended  drapery  at  some  unex- 
pected moment.  There  were  sacrifices  made  to  the  prevailing 
fashion  which  would  have  done  the  sufferers  immortal  honour 
if  they  had  been  made  for  the  sake  of  bearing  some  religious 
or  political  emblem  condemned  by  ruling  and  despotic  author- 
ities. Its  inconvenience  was  felt  by  the  male  population  as 
well  as  by  the  ladies  who  sported  the  obnoxious  construction. 
A  woman  getting  out  of  a  carriage,  an  omnibus,  or  a  train, 
making  her  way  through  a  crowded  room,  or  entering  into  the 
stalls  of  a  theatre,  was  a  positive  nuisance  to  all  with  whom  she 
had  to  struggle  for  her  passage.  The  hoop-petticoats  of  an 
earlier  generation  were  moderate  in  their  dimensions  and  slight 
in  the  inconvenience  they  caused  when  compared  with  the  rigid 
and  enormous  structure  in  which  our  ladies  endeavoured  to 
conform  to  the  fashion  set  up  by  the  Empress  of  the  French. 
I  remember  well  seeing  a  great  tragic  queen  of  opera  going 
through  a  thrilling  part  at  one  of  the  lyric  theatres.  Her 
crinoline  was  of  ultra-expansion,  was  rigid  and  unyielding  in 
its  structure  as  the  mail  corselet  of  the  Maid  of  Orleans.  The 
skirt  of  silk  or  satin  spread  over  it,  so  symmetrically  and  so 
rigidly  conformed  to  the  outlines  of  the  crinoline  that  it 
seemed  as  if  it  were  pasted  to  the  vast  arrangement  beneath. 
The  thrill  and  tragedy  of  the  part  were  wholly  lost  on  me. 
I  could  only  see  the  unpicturesque  absurdity  of  the  exhibition. 
I  could  feel  no  sympathy  with  the  dramatic  sufferings  of  the 
melodious  heroine  thus  enclosed.  Every  movement  and  rush 
of  passion,  of  prayer,  of  wild  despair,  or  distracted  love  was 
lost  on  me,  for  each  change  of  posture  only  brought  into  more 


206 


HISTORIC  DRESS  IN  AMERICA 


striking  display  the  fact  that  I  was  looking  at  a  slight  and 
graceful  woman  boxed  up  in  some  sort  of  solid  barrel  of  pre- 
posterous size  over  which  her  skirt  was  artificially  spread.  To 
this  day  I  can  only  think  of  that  glorious  singer  as  of  a  woman 
for  some  reason  compelled  to  exhibit  herself  on  the  stage  with 
a  barrel  fastened  round  her  waist.  A  lyrical  heroine  jump- 
ing in  a  sack  would  have  been  graceful  and  reasonable  by  com- 
parison. Do  what  we  will,  we  who  lived  in  those  days  cannot 
dissociate  our  memories  of  the  crinoline  from  our  memories  of 
the  women  of  the  period."  * 

The  obnoxious  hoop-skirt  was  usually  made  of  graduated 
rows  of  steel  wire  with  a  woven  cotton  casing,  held  together  by 
broad  strips  of  tape  running  lengthwise.  It  was  collapsible  and 
very  easily  broken,  adding  another  inconvenience  to  its  use. 
The  earlier  form  of  reeds  run  into  casings  made  in  a  petticoat  of 
cotton,  proved  to  be  too  heavy  and  clumsy,  and  was  almost  en- 
tirely abandoned  in  1860. 

Mrs.  Pryor  narrates  an  adventure  during  the  Civil  War,  of 
which  the  derided  hoop-skirt  was  the  heroine. 

"  One  day  I  was  in  an  ambulance,  driving  on  one  of  the  in- 
terminable lanes  of  the  region,  the  only  incident  being  the 
watery  crossing  over  the  '  cosin,'  as  the  driver  called  the 
swamps  that  had  been  '  Poquosin  '  in  the  Indian  tongue.  Be- 
hind me  came  a  jolting  two-wheeled  cart,  drawn  by  a  mule  and 
driven  by  a  small  negro  boy,  who  stood  in  front  with  a  foot 
planted  firmly  upon  each  of  the  shafts.  Within  and  com- 
pletely filling  the  vehicle,  which  was  nothing  more  than  a  box 
on  wheels,  sat  a  dignified-looking  woman.  The  dame  of  the 
ambulance  at  once  became  fascinated  by  a  small  basket  of 
sweet  potatoes  which  the  dame  of  the  cart  carried  on  her  lap. 

"  With  a  view  to  acquiring  these  treasures,  I  essayed  a  tenta- 

*  Portraits  of  the  Sixties,  by  Justin  McCarthy. 


HISTOEIC  DRESS  IN  AMERICA 


267 


tive  conversation  upon  the  weather,  the  prospects  of  a  late 
spring,  and  finally  the  scarcity  of  provisions  and  consequent 
sufferings  of  the  soldiers. 

"  After  a  keen  glance  of  scrutiny  the  market  woman  ex- 
claimed :  '  Well,  I  am  doing  all  I  can  for  them !  I  know  you 
won't  speak  of  it.    Look  here  ! ' 

"  Lifting  the  edge  of  her  hooped  petticoat,  she  revealed  a 
roll  of  army  cloth,  several  pairs  of  cavalry  boots,  a  roll  of 
crimson  flannel,  packages  of  gilt  braid  and  sewing  silk,  cans  of 
preserved  meats,  and  a  bag  of  coffee  !  She  was  on  her  way  to 
our  own  camp,  right  under  the  General's  nose  !  Of  course  I 
should  not  betray  her,  I  promised.  I  did  more.  Before  we 
parted  she  had  drawn  forth  a  little  memorandum  book  and  had 
taken  a  list  of  my  own  necessities.  She  did  not  '  run  the 
blockade '  herself.  She  had  an  agent ,  '  a  dear,  good  Suffolk 
man,'  who  would  fill  my  order  on  his  next  trip." 

Another  hoop-skirt  story  seems  worthy  of  repetition  and 
offers  a  practical  suggestion  to  the  Women's  Society  for  the 
Prevention  of  Cruelty  to  Animals.  A  young  lady  in  San 
Francisco  dressed  in  the  height  of  the  fashion  of  the  summer  of 
1865,  which  of  course  included  a  wide-spreading  crinoline,  was 
out  walking  and  had  with  her  a  pet  spaniel,  for  whose  protec- 
tion she  had  neglected  to  take  out  a  license.  Suddenly  the  dog 
catchers,  with  their  horrible  paraphernalia  of  nets,  etc.,  and  fol- 
lowed as  usual  by  a  mob  of  idle  boys  and  men,  came  into  sight, 
and  in  a  few  minutes  the  officials  of  the  law  confronted  the 
young  lady  and  tried  to  seize  her  dog.  Tilting  her  hoop-skirt 
a  little  to  one  side,  she  called  the  dog  who  wisely  took  refuge 
under  the  protecting  shelter  that  offered,  and  with  flaming 
cheeks,  the  lady  held  her  ground  despite  the  vituperation  of  the 
dog  catchers.  The  crowd  cheered  her  with  shouts  of  "  Good  for 
you,  Lady,"  "  Don't   let   them  have  him,  Lady,"  etc.,  and 


1824-1860 

Figure  212. — 1853— Infant's  shirt  of  linen  cambric. 

Figure  213. — 1835 — Child's  spencer  of  white  linen,  shirred  on  the  shoulders 
and  with  leg-of-mutton  sleeves. 

Figure  214. — 1860 — Child's  shirt  of  linen  cambric. 

Figure  215. — 1855 — Christening  robe.    Worn  in  Philadelphia. 

Figure  216. — 1837 — Costume  of  light  brown  cashmere.  Bonnet  to  match. 
Worn  in  Philadelphia. 

Figure  217. — 1824 — Infant's  dress  of  fine  cambric  trimmed  with  tiny  rows 
of  cording  and  a  ruffle. 

Figure  218. — 1826 — Infant's  robe  trimmed  with  insertion  and  edge  of  Eng- 
lish eyelet  embroidery. 

Figure  219. — 1860— Child's  blue  kid  shoes  with  strings. 

Figure  220. — 1837 — Baby  in  a  long  cloak  of  fawn-coloured  cloth. 


HISTORIC  DRESS  IN  AMERICA 


271 


finally  the  enemy  retreated  and  the  lady  took  her  dog  into  her 
arms  and  fled  homeward. 

The  reign  of  the  hoop-skirt  was  beginning  to  decline  in  1865, 
and  the  change  for  the  better  was  joyously  recorded  by 
"  Punch." 

"  Ehymes  to  Decreasing  Crinoline 
"  With  exceeding  satisfaction 
A  remarkable  contraction 
Of  thy  petticoat  our  eyes  have  lately  seen  ; 
The  expanse  of  ladies'  dress, 
Thank  its  yielding  arbitress, 
Growing  beautifully  less, 
Crinoline." 

A  maker  in  London  offered  a  prize  of  a  hundred  guineas  for 
the  best  poem  on  the  hoop-skirt  by  way  of  advertising  the  gar- 
ment, and  with  the  purpose  of  keeping  it  in  favour.  This 
fashion  "  finally  and  reluctantly  disappeared  "  about  the  time 
that  the  rule  of  the  beautiful  Empress  and  the  Second  Empire 
of  France  was  drawing  to  a  close. 

As  we  will  see  by  the  following  story,  vouched  for  by  a  con- 
temporary, the  fame  of  one  crinoline  outlived  its  fragile  frame. 

"  Some  time  after  the  close  of  the  Civil  War,  about  1869-70, 
a  story  was  published  by  a  Northern  writer  of  a  somewhat  face- 
tious nature,  purporting  to  explain  the  failure  of  the  Southern 
cause.  The  title  as  well  as  can  be  remembered  was  (  How  the 
Southern  Confederacy  Was  Lost,'  and  the  story  was  about  as 
follows  :  In  the  South  during  the  war  it  was  very  hard  for  the 
women,  shut  off  as  they  were,  to  keep  up  with  the  fashions  in 
dress.  From  time  to  time  an  illustrated  paper  or  magazine 
would  get  within  the  lines,  showing  what  was  being  worn  in 
the  outside  world.  This  was  quite  provoking  as  many  of  the 
things  were  not  to  be  had  in  the  Confederacy.  Among  others, 
the  hoop-skirt  of  the  period,  made  of  steel  wire  woven  into  a 


272 


HISTORIC  DRESS  IN  AMERICA 


cotton  cover,  was  much  coveted  and  very  hard  to  get.  In  a  cer- 
tain part  of  the  South  it  was  the  ambition  of  a  young  lady  to 
obtain  one  of  these  much-wished-for  garments,  shall  we  call 
them  ?  and  after  much  trouble  and  a  large  expenditure  of  paper 
money,  the  object  was  achieved.  Here,  as  they  say  on  the  play 
bills,  '  a  period '  is  supposed  to  have  elapsed  and  the  erstwhile 
stylish  and  proud  fabric  of  steel  and  cotton  has  suffered  the  in- 
evitable fate,  and,  although  mended  and  tied  up  in  places,  is  at 
last,  sad  to  say,  no  longer  a  sustaining  force,  but  rather  a  de- 
pressed object,  and  from  the  amount  of  cotton  casing  considered 
more  fit  for  the  rag  bag  than  the  metal  scrap  heap.  Now  it 
happened  that  a  critical  time  had  come  in  the  history  of  the 
South.  It  was  becoming  more  and  more  evident  that  without 
foreign  recognition,  the  effort  to  establish  a  nation  would  fail. 
A  ray  of  hope  came ;  it  was  reported  that  England  would  not 
only  recognize  them,  but  would  take  millions  of  their  bonds, 
and  everything  was  hurried  with  the  object  of  getting  these 
bonds  out  as  quickly  as  possible.  In  fact,  it  was  declared  that 
they  must  be  ready  on  a  certain  day  for  shipment  on  an  English 
ship  which  could  not  remain  beyond  a  certain  date.  The  paper 
mills  were  working  night  and  day  making  the  paper  for  the 
bonds,  then  they  were  to  be  printed,  signed  and  shipped,  but 
alas,  a  catastrophe  occurred.  Among  the  rags  now  being  made 
into  paper  was  what  remained  of  the  old  hoop-skirt  and  still 
sticking  to  part  of  the  webbing  there  was  a  small  piece  of  the 
steel  wire.  Need  we  tell  more?  This,  getting  into  the 
machinery,  soon  ruined  it;  no  more  machines  could  be  pro- 
cured, the  works  stopped,  and  before  matters  could  be  again  ar- 
ranged, the  ship  for  England  had  to  sail  and  the  hopes  of  the 
Confederacy  were  blasted  forever." 

This  period,  known  in  the  history  of  our  country  by  the  am- 
biguous title  of  the  "  Civil  War,"  offers  for  our  observation  two 


HISTOKIC  DRESS  IN  AMERICA 


278 


sides  to  the  question  of  dress,  as  well  as  of  politics.  With  the 
latter  we  need  not  meddle,  but  the  picture  of  the  restricted 
social  life  of  the  South  and  the  economies  in  dress  practised  by 
the  once  most  fashionable  element  of  our  people  is  very  in- 
teresting. 

While  pathetic  scenes  were  being  enacted  in  camp,  the  ladies 
of  Richmond  were  entertaining,  dressing,  and  dancing  by  way 
of  keeping  up  their  courage. 

"  President  and  Mrs.  Davis  gave  a  large  reception  last  week, 
and  the  ladies  looked  positively  gorgeous.  Mrs.  Davis  is  in 
mourning  for  her  father."  * 

During  the  progress  of  the  war  Mrs.  Pryor  was  reduced  to 
finding  some  means  of  feeding  her  household,  and,  out  of  a 
trunkful  of  "  before  the  war "  finery,  which  had  been  long 
stored  away,  manufactured  articles  of  lingerie,  collars,  under- 
sleeves,  neckties,  etc.,  which  brought  good  prices  in  the  inflated 
Confederate  currency.  In  her  endeavour  to  keep  in  the  neigh- 
bourhood of  General  Pryor's  brigade,  she  stopped  for  a  while 
at  Petersburg,  and  describes  the  ingenuity  of  the  women  there. 

Mrs.  Pryor  also  mentions  the  advanced  prices  during  the  war 
times  in  the  Southern  states. 

Calico  of  the  commonest  kind  in  those  days  was  sold  at 
twenty-five  dollars  a  yard,  "  and  we  women  of  the  Confed- 
eracy cultivated  such  an  indifference  to  Paris  fashions  as 
would  have  astonished  our  former  competitors  in  the  Federal 
capital." 

Invention,  that  clever  daughter  of  Necessity,  devised  a  cos- 
tume for  a  Southern  belle  (for  in  peace  or  in  war  the  women  of 
Dixie  were  always  belles)  which  made  such  an  impression  on 
an  English  newspaper  correspondent,  that  he  sent  a  description 
of  it  to  his  London  paper.    This  was  a  gown  of  unbleached 

*  Reminiscences  of  Peace  and  War, 


274 


HISTORIC  DRESS  IN  AMERICA 


muslin  (made  at  Macon,  Georgia)  and  trimmed  with  gourd  seed 
buttons  dyed  crimson. 

"  My  Petersburg  beauties  were  all  wearing  hats  of  their  own 
manufacture,  the  favourite  style  being  the  Alpine  with  a 
pointed  crown.  For  trimming,  very  soft  and  lovely  flowers  were 
made  of  feathers,  the  delicate  white  feather  with  a  tuft  of  fleecy 
marabout  at  its  stem.  The  marabout  tuft  should  be  carefully 
drawn  off,  to  be  made  into  swansdown  trimming.  A  wire  was 
prepared  and  covered  with  green  paper  for  a  stem,  a  little  ball 
of  wax  fastened  at  the  end,  and  covered  with  a  tiny  tuft  of  the 
down  for  a  centre,  and  around  this  the  feathers  were  stuck,  with 
incurving  petals  for  apple  blossoms,  and  half  open  roses,  and  re- 
versed for  camelias.  Neatly  trimmed  and  suitably  tinted,  these 
flowers  were  handsome  enough  for  anybody,  and  were  in  great 
demand.  Cock's  plumes  were  also  used  on  hats,  iridescent,  and 
needing  no  colouring." 

The  becoming  fashion  of  wearing  black  velvet  around  the 
throat  was  revived  in  1860,  a  gold  locket  or  a  jewel  pendant 
usually  being  worn  on  it  in  the  evening.  Gold  chains  and  rows 
of  gold  beads  were  also  very  popular. 

A  prevalent  style  of  coiffure  during  the  ten  years  between 
1860-1870  was  popularly  known  as  the  waterfall.  A  frame  of 
horsehair  was  attached  to  the  back  of  the  head  by  an  elastic, 
and  the  back  hair  brushed  smoothly  over  it,  the  ends  caught  up 
underneath.  A  net  was  usually  worn  over  this  "  chignon  "  to 
keep  the  hair  in  place.  Often  the  whole  structure  was  made  of 
false  hair  and  fastened  on  with  hairpins.  Augustus  Hare  tells 
a  good  story  about  a  "  waterfall  "  or  "  chignon  "  of  this  kind. 
"  How  well  I  remember  the  Aumales  riding  through  the  green 
avenues  near  Ossington  ;  Mary  Boyle  was  with  them.  She  was 
a  most  excellent  horsewoman,  but  a  great  gust  of  wind  came 
and  the  whole  edifice  of  her  '  chignon  '  was  blown  off  before  she 


HISTORIC  DRESS  IN  AMERICA 


275 


could  stop  it.  The  little  Prince  de  Conde  was  very  young  and 
he  was  riding  with  her.  He  picked  it  up  and  said,  '  I  will  keep 
it  in  my  pocket  and  then  when  we  reach  Thorsby  you  can  just 
go  quietly  away  and  put  it  on  ' — and  so  she  did." 

Many  illustrations  of  this  arrangement  are  given  in  "  Punch." 
In  Figure  140  the  back  hair  is  done  in  a  "  waterfall,"  and  in 
Figure  168  the  hair  under  the  net  is  arranged  over  a  horsehair 
rouleau  attached  to  the  head  by  a  narrow  elastic  cord.  The  lat- 
ter was  generally  adopted  by  schoolgirls,  and  was  very  easily 
adjusted. 

"  In  the  arrangement  of  the  hair,"  says  an  acknowledged 
American  authority  of  this  period,  "  regard  ought  to  be  paid  to 
the  style  of  the  features  as  well  as  to  the  general  appearance  of 
the  wearer.  When  the  features  are  large  or  strongly  marked, 
the  hair  should  be  arranged  in  masses,  in  large  curls  or  well  de- 
fined bows,  so  as  to  harmonize  with  the  general  cast  of  the  coun- 
tenance. If,  on  the  contrary,  the  features  are  small  and  delicate, 
the  greatest  care  should  be  taken  not  to  render  too  striking  the 
contrast  between  them  and  the  magnitude  of  the  head-dress. 
Small  and  delicately  formed  curls  or  ringlets,  braids,  or  light  and 
airy  bows  are  the  most  pleasing  varieties  for  this  style.  The  fea- 
tures of  the  greater  number  of  young  ladies,  however,  cannot  be 
classed  under  either  of  these  extremes.  When  such  is  the  case, 
the  fancy  of  the  individual  is  of  course  allowed  greater  latitude, 
but  ought  to  be  no  less  subject  to  the  dictates  of  taste." 

While  on  the  subject  of  hair,  it  is  interesting  to  note  that 
"  Miss  Reed  (of  Tennessee)  was  the  original  girl  with  a  curl  in 
the  middle  of  her  forehead,"  the  "coquettish  item  of  coiffure" 
being  speedily  imitated  by  a  hundred  other  girls  in  Washington. 

A  new  fashion  in  1866,  introduced  by  Eugenie,  was  known 
as  the  "  Empress  peplin."  It  consisted  of  a  belt  with  basque 
tails  cut  square  in  front  and  back  and  very  long  at  the  sides. 


276 


HISTOEIC  DEESS  IN  AMEEICA 


A  French  authority  remarked  of  this  innovation  :  "  The  peplin 
marks  an  epoch  in  history,  and  deserves  our  gratitude,  for  with 
it  crinoline  was  decidedly  an  anomaly  and  its  fall  was  assured." 

Nets  for  the  hair  (Figure  168)  and  the  still  popular  en  tout 
cas,  between  a  parasol  and  an  umbrella,  were  also  novelties 
stamped  by  the  approval  of  the  Empress.  Not  the  least  popular 
of  the  fashions  adopted  by  this  lady  was  the  arrangement  of 
hair  which  is  still  known  by  her  name.  A  photograph  is  given 
(Figure  138)  showing  the  curls  hanging  from  the  coil  at  the 
back,  etc.  The  Empress  was  a  most  accomplished  equestrienne, 
and  for  this  exercise  preferred  an  almost  masculine  costume. 
The  long  full  skirt  was  worn  over  grey  cloth  trousers  and  on 
her  feet  were  patent  leather  boots  with  high  heels  and  spurs. 
The  curls  were  concealed  by  a  trig  coil  of  braids  under  the  long 
plume  of  her  hat.  It  was,  we  are  told,  her  custom  to  ride 
astride  and  she  "  despised  the  side  saddle  ordinarily  used  by  her 
sex." 

A  contemporary  American  authorit}*-  speaks  of  "  Foulard,"  a 
silk  first  introduced  in  1860  which  still  retains  popular  favour. 

"  In  the  foulards  for  ordinary  wear,  pansies,  clusters  of  ber- 
ries, fruit,  as  the  cherry  and  plum,  are  among  the  newest 
designs." 

Specimens  of  the  fashions  in  bonnets  of  this  decade  are  illus- 
trated in  Figures  282  and  283  from  originals  in  the  interesting 
collection  of  Miss  Dutihl  in  Memorial  Hall,  Philadelphia.  One 
of  these  bonnets  (Figure  282)  is  made  of  emerald  green  velvet 
with  a  brim  of  white  bengaline,  a  full  trimming  next  the  face 
of  blond  lace,  green  velvet  and  white  roses,  and  two  sets  of 
strings,  one  of  white  ribbon  and  the  other  of  green  velvet.  The 
other  (Figure  283)  is  of  brown  horsehair  braid  and  brown  silk 
with  a  quilling  of  the  same.  White  tulle,  black  velvet  ribbon 
and  red  poppies  inside  the  brim. 


HISTORIC  DRESS  IN  AMERICA 


277 


These  bonnets  are  much  flatter  on  top  and  more  open  at 
the  ears  than  formerly.  A  variety  of  fancy  braids,  and  some 
delicately  fine  Dunstables  and  split  French  straws  Avere  popular. 
We  find  the  following  under  the  heading  "  Spring  Bonnets  "  : 

"A  Neapolitan  braid,  grey  and  white,  trimmed  with  Solferino 
and  grey  ribbon  drawn  into  rosettes  on  one  side,  with  straw 
centres,  which  give  them  much  the  appearance  of  poppies,  a  long 
loop  of  ribbon  and  two  straw  tassels  complete  the  trimming  of 
the  left  side,  and  on  the  other  side  the  ribbon  is  drawn  down 
perfectly  plain.  The  cape  and  front  of  the  bonnet  are  finished 
with  a  puffing  of  Solferino  crape. 

"  An  English  chip  bonnet,  with  pansy-coloured  velvet  cape. 
On  the  right  side  of  the  bonnet  are  two  bows  of  pansy  ribbon 
worked  with  gold  stars,  and  on  the  other  a  large  bunch  of 
scarlet  flowers. 

"  Fine  split  straw  with  dark  crown,  trimmed  with  a  sapphire 
blue  ribbon  and  a  white  ribbon.  On  the  right  side  of  the  bon- 
net is  a  large  water-lily  with  buds  and  leaves.  The  inside 
trimming  is  a  roll  of  sapphire  blue  velvet,  black  tabs,  and  a 
small  lily  on  one  side. 

"  A  Tuscan  braid  trimmed  on  one  side  with  white  ribbon 
bound  with  black  velvet,  and  black  lace  rosettes  with  jet 
centres,  and  on  the  left  side  are  handsome  jet  tassels  fastened  by 
medallions  of  white  gimp.  The  inside  trimming  is  in  a  puffing 
of  white  illusion,  and  large  black  rosettes  with  jet  pendants. 
This  is  a  beautiful  style  of  bonnet  for  light  mourning."  * 

Hats  were  very  small  in  the  sixties.  The  mushroom  hat  of 
1907  is  a  revival  of  a  style  introduced  in  1862.  Another  shape 
much  worn  at  that  time  had  a  round  crown  and  small  rolling- 
brim,  and  was  usually  trimmed  with  a  drooping  ostrich  feather. 
Illustrations   of  both   these  fashionable  hats  are   given  in 

*  Godey's  Lady's  Book  (1861). 


1808-1830 

Figure  222. — 1808 — Specimen  of  hand-painted  trimming,  a  popular  fancy- 
work  in  the  first  quarter  of  the  nineteenth  century.  Chinese  shawl  of 
muslin  embroidered  in  a  design  of  pagodas  and  trees.  White  mull 
shawl.  "White  satin  slippers.  Part  of  the  wedding  outfit  of  Miss  Lydia 
Learning,  worn  in  Philadelphia. 

Figure  223. — 1808 — Wedding  veil,  fan  and  reticule.  Linen  gloves  cut  out 
and  sewn  by  hand. 

Figure  224.  —1808— Black  lace  scarf. 

1820 — Three-cornered  shawl. 

Figure  225.— 1810— Baby  dress. 

1830 — Embroidered  pelisse. 


HISTORIC  DRESS  IN  AMERICA 


281 


Figures  163  and  165  and  in  Figure  169  will  be  seen  the  picture 
of  a  walking  hat  decorated  with  a  feather  which  came  into 
favour  in  1865,  and  was  celebrated  in  the  following  verses  of  a 
popular  song : 

"The  Jockey  Hat  and  Feather 

"As  I  was  walking  out,  one  day, 

Thinking  of  the  weather, 
I  saw  a  pair  of  roguish  eyes 

'Neath  a  hat  and  feather  ; 
She  looked  at  me,  I  looked  at  her, 

It  made  my  heart  pit-pat, 
Then,  turning  round,  she  said  to  me, 

How  do  you  like  my  hat  ? 

"  Chorus — Oh  !  I  said  ;  it's  gay  and  pretty  too ; 
They  look  well  together, 
Those  glossy  curls  and  Jockey  hat, 
With  a  rooster  feather. 

"She  wore  a  handsome  broadcloth  basque, 

Cut  in  the  latest  fashion, 
And  flounces  all  around  her  dress 

Made  her  look  quite  dashing  ; 
Her  high-heeled  boots,  as  she  walk'd  on, 

The  pavement  went  pit-pat, 
I  will  ne'er  forget  the  smile  I  saw, 

Beneath  the  Jockey  hat. 

"Chorus— Oh  !  I  said,"  etc. 

The  pork-pie  was  the  name  of  another  style  of  hat.  It  was 
not  unlike  the  turban  hat  in  shape,  but  there  was  a  little  space 
between  the  brim  and  crown.     (See  Figure  164.) 

In  the  year  1863,  the  game  of  croquet  was  introduced  and 
became  very  popular  on  both  sides  of  the  ocean.  "  Punch  "  has 
described  it  in  the  following  verses  : 


282 


HISTOKIC  DRESS  IN  AMERICA 


"  Croquet 

"  Aid  me,  ye  playful  nymphs  that  flit  around 
The  Pegs  and  Hoops  of  every  Croquet  ground  ! 
Ye  geutle  spirits  do  not  mock,  nor  blame 
My  humble  efforts  to  describe  the  Game. 
Eight's  the  full  complement  of  players  :  more 
Than  six  is  bad,  I  think  ;  let  two  or  four 
Of  equal  skill  for  Croquet's  laurels  fight, 
This  the  best  form  of  game.    Say,  am  I  right? 
Let  Messrs.  Eobinson  and  Jones  choose  sides  ; 
Miss  Smith,  Miss  Brown  ;  perchance  their  future  brides, 
Events  do  happen  strange  as  those  we  read, 
And  Croquet  may  to  Hymen's  Altar  lead. 
Jones  wins  the  toss,  and  cunning  dog,  forthwith, 
Takes  for  his  partner  blonde  Miss  Emmy  Smith, 
While  Eobinson,  who'd  just  begun  to  frown, 
Looks  happy  and  selects  brunette  Miss  Brown. 
On  Emmy,  Blue  her  partner's  care  bestows, 
And  her  with  Yellow  does  Brunette  oppose  ; 
Jones  chooses  Green  ;  two  laugh  :  '  he  laughs  who  wins '  : 
To  Eobinson  the  Eed  :  and  Eed  begins." 

A  croquet  costume  is  shown  in  Figure  166  from  a  fashion 
book  of  1868,  in  which  the  dress  is  made  with  an  apron  front 
and  looped  up  over  a  gay  coloured  under  petticoat  and  the  high 
walking  boots  are  finished  with  a  silk  tassel  at  the  ankle.  A 
short  sacque  or  loose  jacket  is  worn  with  this  dress,  and  a  small 
hat  with  a  long  ostrich  feather  falling  over  the  hair. 

In  Figure  246  illustrations  of  shoes  worn  during  the  sixties 
are  given.  Congress  gaiters  were  made  of  cloth  and,  instead  of 
opening  up  the  front,  were  finished  with  a  broad  piece  of  elastic 
on  each  side.  They  were  cut  rather  low,  and  were  made  in  dif- 
ferent colours  and  tipped  with  patent  leather.  Balmoral  boots, 
depicted  in  Figure  166,  were  very  popular.  They  laced  up  the 
front  and  were  considered  very  stylish,  and  were  effectively  worn 
in  the  game  of  croquet,  or  with  seaside  costume.  A  sketch  by 
Leech  in  "  Punch "  has  the  following  squib  printed  under- 
neath it : 


HISTOEIC  DRESS  IN  AMERICA 


283 


' '  That  the  mermaids  of  our  beaches  do  not  end  in  ugly  tails, 
Nor  have  homes  among  the  corals,  but  are  shod  with  neat  balmorals, 
An  arrangement  no  one  quarrels  with, 
As  many  might  with  seals." 

A  riding  habit  of  1865  is  given  in  the  initial  at  the  begin- 
ning of  this  chapter.  It  is  taken  from  a  contemporary  English 
print.  It  is  similar  to  the  costume  worn  by  Queen  Victoria  as 
represented  in  the  equestrian  statue  at  Liverpool.  Several  at- 
tractive riding  habits  are  described  in  the  magazines  of  the 
sixties  : 

A  black  cloth  with  a  long  basque  with  revers  in  front, 
standing  white  collar  with  cherry  silk  necktie.  Black  felt  hat 
with  dark  blue  grenadine  veil. 

A  blue  cloth  habit  made  with  a  square  coat  tail  in  the  back, 
and  point  in  front.  Standing  linen  collar  with  necktie  of  white 
muslin.    Black  straw  hat  with  blue  feathers. 

Habit  of  grey  cloth  made  with  a  short  point  back  and  front. 
Standing  collar  and  blue  silk  necktie.    Veil  of  grey  tissue. 

Among  other  innovations  introduced  in  this  decade  was  the 
Garibaldi  blouse,  which  for  a  while  attained  great  popularity  in 
America  as  well  as  in  Europe.  Two  new  colours  which  mark 
that  dramatic  period  of  Garibaldi's  career,  "Solferino"  and 
"  Magenta,"  were  in  favour  during  the  sixties.  A  costume 
worn  by  Eugenie,  grey  woolen  skirt  looped  in  festoons  over  an 
under-petticoat  of  Solferino  cashmere  with  a  Garibaldi  blouse 
of  the  same  new  colour,  small  hat  with  feather,  may  be  con- 
sidered typical  of  the  middle  of  that  decade.    (See  Figure  165.) 

A  popular  song  of  that  time  describes  these  prevailing  fash- 
ions. 

"Bed  Petticoat 
"  You  may  talk  about  the  fashions, 
Of  bonnets  neat  and  small, 
Of  crinoline  and  flounces, 
But  the  stripes  exceed  them  all. 


HISTORIC  DRESS  W  AMERICA 


I'm  fond  of  little  bonnets, 

Of  skirts  quite  full  and  wide, 
But  they  want  the  striped  petticoat 

To  show  them  off  beside. 

"  There's  a  beauty  in  the  gaiter, 

That  defies  the  clumsy  foot, 
But  the  tidy  little  slipper, 

Looks  best  upon  the  foot. 
And  if  you  wish  to  show  it, 

Or  have  it  well  display'd, 
Then  with  the  striped  petticoat 

Just  take  a  promenade. 

"  All  women  take  the  fashions 

Of  Empress  and  Queen, 
Victoria  wears  the  petticoat, 

And  crinoline — Eugene  ; 
Victoria  is  a  model, 

As  every  woman  knows, 
And  every  girl  should  imitate 

Her  virtues,  well  as  clothes." 

The  Zouave  jacket,  made  either  with  or  without  sleeves, 
rivalled  the  Garibaldi  blouse  in  popular  favour.  Like  the 
spencers  of  an  earlier  date,  these  little  jackets  were  made  in 
every,  colour  and  combination.  Zouave  trousers  for  riding  were 
among  the  new  fashions  for  women  in  1869.  A  plate  of  that 
date,  in  the  collection  of  the  Salmagundi  Club  of  New  York, 
shows  a  suit  of  dark  green  cloth,  Zouave  jacket  and  full  Turkish 
trousers  fastened  at  the  ankle,  and  a  fez  to  match  with  a  black 
tassel  hanging  over  the  left  side. 

Printed  calicoes  and  chintzes  were  worn  by  maids,  with 
white  aprons  and,  in  many  households,  white  caps  with  a  bow 
of  ribbon,  as  in  Figure  167,  which  is  taken  from  a  contempo- 
rary print. 

In  the  winter  of  1869-1870  the  hoop-skirt,  which  had  been 
gradually  diminishing  in  circumference  since  1865,  was  super- 


HISTORIC  DRESS  IN  AMERICA 


285 


seded  by  dress  improvers  or  bustles.  These  articles  of  attire 
were  made  either  of  horsehair  with  a  series  of  ruffles  across  the 
back,  or  of  cambric  with  steels  run  through  a  casing,  their 
object  being  to  hold  the  dress  skirt  out  at  the  back.  They  were 
made  like  a  petticoat  with  a  plain  breadth  in  front  and  the  full 
trimming  in  the  back  breadth  only,  but  they  gradually  grew 
smaller  and  smaller. 

Overdresses  were  worn  with  every  costume  in  1870,  caught 
up  at  the  sides  and  decorated  with  numerous  bows  or  rosettes. 
Bodices  were  cut  high  and  sashes  to  match  the  dress  were  very 
much  worn  in  the  street  as  well  as  with  evening  dresses.  Very 
long  trains  were  worn  with  the  latter,  but  street  costumes  were 
made  to  clear  the  instep.  Bonnets  and  hats  were  very  small 
and  fiat. 

At  this  period  (1869-1870)  the  hair  was  usually  arranged  in 
braids  at  the  back  and  turned  up  and  pinned  close  to  the  head, 
while  the  front  hair  was  crimped,  parted  in  the  middle  and 
drawn  back  above  the  ears,  and  the  ends  made  into  finger-puffs 
on  top  of  the  head.  Curls  were  much  worn,  sometimes  hang- 
ing in  a  soft  cluster  over  the  braids,  but  the  favourite  style  was 
a  long  ringlet  coming  out  from  the  braids  at  the  left  side  and 
hanging  down  over  the  shoulder.  For  full  dress  occasions  the 
coiffure  consisted  entirely  of  finger-puffs  and  small  artificial 
flowers  were  placed  at  intervals  through  them.  Bonnets  were 
worn  for  visiting,  etc.,  by  every  lady  from  the  age  of  eighteen 
upwards. 

A  debutante  costume  for  fashionable  street  wear  in  1870  was 
usually  a  dress  of  black  silk  trimmed  with  ruffles  of  the  same, 
a  close-fitting  basque  coat  of  black  velvet  trimmed  with  fur  or 
with  ostrich  feather  trimming,  a  bonnet  of  coloured  velvet 
trimmed  with  flowers  and,  instead  of  strings,  a  bridle  of  velvet 
under  the  chin.    Such  a  combination  would  be  considered  much 


1836-1847 

Figure  227. — 1838 — A  gentleman  in  full  dress.    Taken  from  a  plate. 
Figure  228. — 1838 — A  white  satin  wedding  dress  trimmed  with  blond  lace, 

worn  in  Philadelphia  by  Miss  Mary  Brinton.    Head  and  veil  from  a 

contemporary  portrait. 
Figure  229. — 1839 — Gentleman  in  morning  suit  of  mixed  tweed.    From  a 

print  of  that  date. 

Figure  230. — 1836 — A  soft  white  figured  silk  gown  worn  in  Philadelphia. 
The  trimming  is  of  the  same  material  plaited  and  arranged  in  a  fan- 
shaped  bertha.    Head  is  from  a  contemporary  portrait. 

Figure  231. — 1837 — Bottle-green  broadcloth  coat,  white  figured  silk  waist- 
coat; worn  in  Philadelphia.  Pantaloons,  stock,  etc.,  from  a  print  of 
that  date.    Head  from  a  portrait. 

Figure  232. — 1847 — Blue  changeable  silk  pelisse,  wadded  and  lined  with 
white  silk ;  worn  in  Boston.  Bonnet  and  gown  from  a  print.  Head 
from  a  contemporary  portrait. 

Figure  233. — 1845 — Greenish-gray  satin  gown,  worn  in  Boston.  Embroid- 
ered muslin  cape  from  a  plate.  Head  from  a  portrait  of  the  same 
date. 

Figure  234.  —1845 — Blue  coat  with  gilt  buttons  and  white  silk  waistcoat ; 
worn  in  Philadelphia.  Stock,  hat,  etc.,  from  a  plate.  Head  from  a 
contemporary  portrait. 


HISTORIC  DRESS  IN  AMERICA 


280 


too  sedate  for  a  grandmother  in  the  present  day.  Black  silk 
was  also  worn  for  evening  dresses  with  sashes  and  trimmings  of 
a  bright  colour  or  with  a  flat  trimming  of  jet  passementerie. 

Possibly  the  popularity  of  black  may  be  traced  to  France, 
which  was  in  great  trouble  in  1870.  During  the  disastrous 
siege  of  Paris,  Challomel  tells  us,  "  Fashion  veiled  her  face. 
The  '  Magazine  des  Modes  '  was  silent  and  under  the  melancholy 
circumstances  black  was  universally  worn,  but  it  was  not  like 
ordinary  mourning,  being  richly  trimmed." 

Gloves  with  one  button  had  been  worn  throughout  the  sixties 
even  with  short  sleeves,  but  at  the  end  of  that  decade  a  pro- 
nounced change  was  introduced.  Picturesque  Musquetaire 
gloves  of  "  Suede,"  reaching  almost  to  the  elbow,  at  once 
claimed  popular  favour  for  evening  dress.  For  street  wear 
from  two  to  six  buttons  were  in  vogue.  Soft  shades  of  tan  and 
grey  were  the  fashionable  colours.  The  following  verses  by 
Locker  gracefully  express  the  sentiment  attached  to  the  glove 
at  all  periods  : 

"  Slips  of  a  kid-skin  deftly  sewn, 
A  scent  as  through  her  garden  blown, 
The  tender  hue  that  clothes  her  dove, 
All  these,  and  this  is  Gerty's  glove. 

"  A  glove  but  lately  dofft,  for  look 
It  keeps  the  happy  shape  it  took 
"Warm  from  her  touch  !  who  gave  the  glow  ? 
And  where's  the  mould  that  shaped  it  so  %  "  * 

*  London  Lyrics. 


CHILDREN'S  GARMENTS 
1800-1870 


"New  Dresses 


"  New  dresses  ?   Ay,  this  is  the  season 
For  '  opening-day  '  is  close  by  : 
Already  I  know  the  '  Spring  fashions 
Can  tell  you,  I  think,  if  I  try. 

"  Of  colours,  the  first  thing  to  mention, 
There's  a  great  variety  seen  ; 
But  that  which  obtains  the  most  favour 
Is  surely  a  very  bright  green. 

"  True,  the  elderly  portion  are  plainer, 
And  choose,  both  in  country  and  town, 
To  appear  in  the  shades  which  are  sombre, 
And  keep  on  the  garment  of  brown. 

"  Miss  Snowdrop,  the  first  of  the  season, 
Comes  out  in  such  very  good  taste — 
Pure  white,  with  her  pretty  green  trimmings  ; 
How  charming  she  is,  and  how  chaste ! 

u  Miss  Crocus,  too,  shows  very  early 
Her  greetings  of  love  for  the  sun, 
And  comes  in  her  white,  blue  or  yellow ; 
All  dresses  of  hers  are  home-spun. 

"  And  who  is  this  handsome  young  master, 
A  friend  to  Miss  Crocus  so  true  ? 
He  comes  dressed  in  purple  or  yellow, 
And  sometimes  in  pink,  white  and  blue. 

u  In  form  he  is  tall  and  majestic  ; 

Ah  !  the  Spring  has  just  whispered  his  name  : 
'  Hyacinthus' — the  beau  of  the  season  ! 
And  sweet  and  wide-spread  is  his  fame. 

"  Madame  Tulip,  a  dashing  gay  lady, 
Appears  in  a  splendid  brocade  ; 
She  courts  the  bright  sunbeams,  which  give  her 
All  colours — of  every  shade. 


"  She  came  to  us  o'er  the  wide  ocean, 
Away  from  her  own  native  air, 
But  if  she  can  dress  as  she  chooses 
She  can  be  quite  at  home  anywhere. 

"  Narcissus,  a  very  vain  fellow, 

Has  a  place  in  the  Spring  fashions,  too — 
Appears  in  his  green,  white  and  yellow, 
In  his  style,  though,  there's  nothing  that's  new. 

u  Miss  Daisy  wears  white,  with  fine  fluting  ; 
A  sweet  little  creature  is  she, 
But  she  loves  the  broad  fields  and  green  meadows, 
And  cares  not  town  fashions  to  see. 

"  Another  style,  pretty  and  tasteful, 
Green,  dotted  with  purple  or  blue, 
Is  worn  by  Miss  Myrtle,  whose  beauty 
In  shade  and  retirement  grew. 

"I've  borrowed  these  styles  from  Dame  Nature, 
Whose  children  are  always  well  drest : 
In  contrast  and  blending  of  colours 
She  always  knows  what  is  the  best. 

"  Already  her  hand  is  arranging 

More  elaborate  trimmings  for  May ; 
In  silence,  unseen  it  is  working, 
Accomplishing  much  every  day. 

"  Her  '  full  dress '  and  festive  occasion 
Will  take  place  quite  early  in  June, 
Ushered  in  by  low  notes  of  sweet  music, 
Which  her  song-birds  alone  can  attune." 

— S.  H.  Barker. 


Children's  Garments 


1800-1835 

"  Oh,  what  a  silken  stocking, 
And  what  a  satin  shoe ; 
I  wish  I  was  a  little  toe 
To  live  in  there,  I  do." 

HE  dressing  of  babies  and  little  girls  in  the 
early  part  of  the  nineteenth  century  was 
very  simple  and  very  pretty.  The  pre- 
vailing fashions  for  women  were  in  fact 
more  suitable  for  children  than  for  their 
mothers,  and  the  numerous  portraits  of 
that  period  show  infants  and  children 
dressed  in  soft  muslin,  made  with  low 
necks,  short  sleeves,  high  waists,  and 
scanty  skirts  just  reaching  to  the  ankles. 
Slippers  or  low  shoes  made  of  kid  or  satin  were  worn  at  all 
seasons,  and  a  sash  of  ribbon  and  a  necklace  of  coral  or  of  gold 
beads  were  the  favourite  adornments. 

The  little  shoes  sketched  in  Figure  219  belonged  to  a  baby 
girl  in  Philadelphia  and  recall  another  rhyme  of  Kate  Green- 
away's : 

"  As  I  stepped  out  to  hear  the  news, 
I  met  a  lass  in  socks  and  shoes, 
She'd  shoes  with  strings,  and  a  friend  had  tied  them, 
She'd  a  nice  little  pair  of  feet  inside  them  ! " 

The  hair  was  generally  cut  short,  which  is  not  a  becoming 

fashion  even  to  a  pretty  face.    Curls,  however,  came  into  vogue 

295 


1804-1860 

Figuee  235. — 1812 — Morning  cap  of  embroidered  muslin,  called  "coiffure 

a  F indisposition."    From  a  plate. 
Figuee  236. — 1812 — Dinner  cap  of  lace  and  muslin  trimmed  with  white 

satin.    From  a  plate  of  the  day. 
Figuee  237.— 1812— White  "  Hyde  Park  »  bonnet.    After  a  print. 
Figuee  238. — 1816 — Bonnet  of  white  chip  trimmed  with  rouleaux  of  gauze 

and  bunch  of  white  flowers.    From  a  plate. 
Figuee  239. — 1810-13 — Hat  of  Leghorn  trimmed  with  pale  blue  ribbon  and 

straw  rosettes  around  the  crown.    Wetherill  collection. 
Figuee  240. — 1817 — Straw  bonnet  trimmed  with  green  ribbon  rosette. 

From  a  plate. 

Figuee  241. — 1825-29 — Leghorn  hat  with  blue  satin  ribbon  in  a  brocade 

scroll  pattern.    Wetherill  collection. 
Figuee  242. — 1818-19 — Hat  of  white  straw  with  gauze  ribbon  ;  white  flowers 

and  gauze  plaits  under  the  brim.    Wetherill  collection. 
Figuee  243. — 1804 — Bonaparte  hat  of  white  gauze  trimmed  with  wreath  of 

laurel. 

Figuee  244. — 1819 — Bonnet  of  white  spotted  satin  trimmed  with  white  satin 

ribbon.    Wetherill  collection. 
Figuee  245. — 1816 — Muslin  morning  bonnet.    From  a  plate. 
Figuee  246. — 1820-60 — Pale  blue  ribbed  silk  slippers  with  satin  rosettes. 

Gaiters  of  drab  cloth  laced  up  the  side.    Bronze  kid  slipper  with 

red  inlaid  rosette.    White  kid  slipper. 


HISTORIC  DRESS  IN  AMERICA 


299 


soon  after  1800  and  were  encouraged  and  cultivated  whenever 
it  was  possible.  In  a  few  years  the  fashion  became  so  popular 
that  curl  papers  were  the  torment  of  almost  every  little  girl  in 
the  nursery.  Caps,  which  as  we  have  seen  were  ordinarily 
worn  by  grown  people,  were  also  worn  in  the  house  by  children 
from  1800  to  1825,  and  will  be  noticed  in  many  of  the  portraits 
by  Sully,  Stuart,  and  St.  Memin.  Over  the  caps,  hats  of  beaver 
or  straw,  according  to  the  season,  were  worn  out-of-doors, 
demurely  tied  under  the  chin,  for 

"  Little  Fanny  wears  a  hat 
Like  her  ancient  Grannie." 

Mits  of  thread  and  silk,  which  were  fashionable  in  the  latter 
half  of  the  eighteenth  century,  were  still  worn  by  children 
from  1800  to  1830. 

During  the  First  Empire  period  the  gowns  of  children  were 
of  the  plainest.  In  Figure  77  a  picture  of  the  little  niece  of 
Napoleon  shows  a  very  unpretentious  costume  of  sheer  muslin 
trimmed  with  Valenciennes  lace,  which  has  been  selected  as  a 
typical  specimen  of  the  garb  of  little  girls  from  1800  to  1820  in 
France,  England  and  America.  For  outdoor  wear  pelisses  or 
wrapping  cloaks,  lined  or  wadded  and  often  trimmed  with  fur, 
were  fashionable  during  the  first  quarter  of  the  century,  made 
as  in  Figure  175,  with  a  standing  collar,  high  waist  and  but- 
toned closely  down  the  front.  This  particular  pelisse  is  of  red 
cloth  and  was  worn  in  Philadelphia  by  little  Mary  Brinton  in 
1812.  It  is  not  unlike  the  green  pelisses  of  Kate  Greenaway's 
verses : 

"  Five  little  sisters  walking  in  a  row, 
Now  isn't  that  the  best  way  for  little  girls  to  go? 
Each  had  a  round  hat,  each  had  a  muff, 
And  each  had  a  new  pelisse  of  soft  green  stuff." 


nc»o 


HISTORIC  DRESS  IN  AMERICA 


These  outdoor  garments  were  often  made  with  capes,  as  in  the 
following  description  taken  from  a  fashion  book  of  1808: 

"  A  frock  and  short  trousers  of  cambric,  with  Turkish 
pomposas  [slippers]  of  jonquille  kid.  A  wrapping  coat  with 
deep  cape,  formed  of  fine  scarlet  kerseymere.  A  beaver  hat  and 
feathers  of  dove  colour." 

The  hats  of  that  period,  illustrated  in  Figures  194,  195  and 
203,  were  quaint  enough  to  find  favour  with  Miss  Greenaway 
when  she  started  the  picturesque  revolution  in  the  dress  of 
children,  which  is  still  known  by  her  name.  Bonnets  much 
like  their  elders  were  worn  by  small  girls  from  the  age  of  seven 
up,  and  remained  in  fashion  all  through  the  century  (Figures 
157,  175,  181,  184,  187  and  280.) 

"  Polly's,  Peg's  and  Poppety's 
Mamma  was  kind  and  good, 
She  gave  them  each,  one  happy  day, 
A  little  scarf  and  hood. 

u  A  bonnet  for  each  girl  she  bought, 
To  shield  them  from  the  sun  ; 
They  wore  them  in  the  snow  and  rain, 
And  thought  it  mighty  fun." 

An  infant's  dress  worn  in  Boston  in  1824  is  illustrated  in 
Figure  217.  It  is  very  dainty  and  a  beautiful  specimen  of  plain 
needlework.  Another  little  dress  of  about  the  same  date  (see 
Figure  218)  is  trimmed  with  openwork  insertion.  A  christen- 
ing frock  shown  in  Figure  215,  which  is  of  a  much  later  date, 
was  worn  by  a  Philadelphia  baby  in  1855. 

Long  cloaks  of  merino,  wadded  and  lined  with  silk  and 
trimmed  with  embroidery  or  swansdown  fur,  were  the  usual 
outdoor  garments  of  babies  from  1800  to  1870.    The  picture  of 


HISTORIC  DEESS  IN  AMERICA 


3i)l 


one  in  Figure  220  is  taken  from  a  baby  cloak  of  fawn-coloured 
merino  embroidered  with  silk  of  the  same  colour,  and  lined 
throughout  with  silk  to  match.  It  was  made  in  England,  and 
was  sent  to  Philadelphia  as  a  present  to  a  little  Quaker  baby  in 
1834.  The  bonnet  was  made  to  match  the  cloak  and  the  ribbon 
trimmings  are  all  of  the  exact  shade  of  brown.  A  coat  and 
bonnet  of  the  same  material  and  colour  and  made  for  an  elder  sis- 
ter of  three  years  of  age  are  shown  in  Figure  216.  Both  of  these 
costumes  are  beautifully  embroidered  and  nothing  but  the 
colour,  which  is  rather  sober  for  babies,  suggests  that  they 
were  especially  designed  for  the  children  of  Quaker  parents. 
In  the  early  part  of  the  century,  however,  Quakers  were 
much  more  rigid  in  their  regulations  with  regard  to  dress. 
In  the  "  Autobiography  of  Mary  Howitt "  she  describes 
the  austerely  plain  costumes  of  a  little  Quaker  girl  in  1809  as 
follows  : 

"  How  well  I  remember  the  garments  that  were  made  for  us. 
Our  little  brown  cloth  pelisses,  cut  plain  and  straight,  without 
plait  or  fold  in  them,  hooked  and  eyed  down  the  front  so  as  to 
avoid  buttons,  which  were  regarded  by  our  parents  as  trim- 
mings, yet  fastened  at  the  waist,  with  a  cord.  Little  drab 
beaver  bonnets  furnished  us  by  the  Friends'  hatter  of  Stafford, 
James  Nixon,  who  had  blocks  made  purposely  for  our  little 
ultra-plain  bonnets.  They  were  without  a  scrap  of  ribbon  or 
cord,  except  the  strings,  which  were  a  necessity,  and  these  were 
fastened  inside.  Our  frocks  were,  as  usual,  of  the  plainest  and 
most  homely  fabric  and  make." 

Nothing  could  be  more  sad  and  doleful  than  the  garb  in 
Figure  288,  copied  from  the  woodcut  in  the  book. 

The  love  for  pretty  things  is  almost  an  instinct  with  young 
children,  and  it  is  not  easy  to  imagine  the  "Sophia"  of  Jane 
Taylor's  verses  entitled  : 


302 


HISTORIC  DRESS  IN  AMERICA 


"  Sophia.' s  Fool's  Cap 
"  Sophia  was  a  little  child, 
Obliging,  good  and  very  mild, 
Yet,  lest  of  dress  she  should  be  vain, 
Mamma  still  dressed  her  well  but  plain  — 
Her  parents,  sensible  and  kind, 
"Wished  only  to  adorn  her  mind  ; 
No  other  dress,  when  good,  had  she, 
But  useful,  neat  simplicity. 

"  Though  seldom,  yet  when  she  was  rude, 
Or  even  in  a  naughty  mood, 
Her  punishment  was  this  disgrace, 
A  large  fine  cap  adorned  with  lace, 
"With  feathers  and  with  ribbands  too ; 
The  work  was  neat,  the  fashion  new, 
Yet,  as  a  fool's  cap  was  its  name, 
She  dreaded  much  to  wear  the  same. 

"  A  lady,  fashionably  gay, 
Did  to  Mamma  a  visit  pay. 
Sophia  stared,  then  whispering  said, 
'  Why,  dear  Mamma,  look  at  her  head  ! 
To  be  so  tall  and  wicked  too, 
The  strangest  thing  I  ever  knew, 
What  naughty  tricks,  pray,  has  she  done, 
That  they  have  put  a  fool's  cap  on  f '  " 

A  story  is  told  of  a  little  Quaker  girl  whose  soul  yearned  for 
bright  colours.  Having  made  an  engagement  to  take  a  country 
walk  with  a  boy  neighbour,  she  stole  quietly  out  of  the  house 
and  gathered  in  the  orchard  some  ripe  cherries  with  which  she 
adorned  her  plain  straw  hat  and  drab  ribbons,  being  very  care- 
ful to  throw  away  the  bright  cherries  on  her  way  home. 

Another  story  of  the  days  of  pantalets  is  told  of  a  little 
Quaker  girl  and  her  sister,  who  laid  a  deep  scheme  to  procure  a 
pair  of  those  uncouth  garments  which,  being  in  the  height  of 
fashion  among  children  of  the  world,  were  forbidden  to  the  chil- 
dren of  Friends,  and  consequently  much  coveted  by  them.  Be- 


HISTORIC  DRESS  IN  AMERICA 


303 


fore  the  grown  people  were  stirring,  these  two  children  got  up 
and  fashioned  for  themselves  two  pairs  of  pantalets  out  of  one 
of  the  sheets  from  their  bed.  They  were  busy  plying  their 
needles  when  the  door  suddenly  opened  and  their  mother  ap- 
peared. Needless  to  say,  an  emphatic  demonstration  of  maternal 
disapproval  ensued  and  the  little  Quakeresses  never  finished  the 
pantalets. 

In  1815  great  changes  in  fashion  for  everybody  were  in- 
troduced. The  big  hats  and  full  skirts  were  well  enough  for  lit- 
tle girls,  but  alack  I  the  pantalets  reaching  to  the  ankles  spoiled 
everything.  These  obnoxious  articles  must  have  been  very 
troublesome  to  make  and  very  uncomfortable  to  wear,  but  they 
held  their  sway  from  about  1818  to  about  1858.  There  are 
several  specimens  to  be  seen  in  the  collection  at  Memorial  Hall, 
Philadelphia.  It  was  the  custom  of  thrifty  mothers  to  make 
the  pantalets  for  school  and  every-day  wear  of  stout  calico  or 
nankin,  but  for  afternoon  and  dress  occasions  they  were  always 
of  white  and  often  elaborately  trimmed  with  lace  and  em- 
broidery. Occasionally  they  were  trimmed  with  deep  gathered 
ruffles,  and  awkward  indeed  must  have  been  the  wearing  of  these 
stiff  and  starched  vanities.  Pantalets  were  usually  adjustable 
and  made  to  button  on  to  the  edge  of  the  drawers,  but  occasion- 
ally they  were  made  to  full  into  a  band  and  finished  with  a 
ruffle  at  the  ankle,  as  in  Figures  157  and  181. 

Old  fashion  books  tell  us  that  when  children  were  dressed  in 
mourning,  a  general  custom  on  the  death  of  a  parent  in  the 
first  half  of  the  nineteenth  century,  they  had  pantalets  made  of 
crape  ;  could  anything  be  more  hideous  ? 

From  1825  to  1835,  leg-of-mutton  sleeves  figured  in  the  chil- 
dren's corner  of  Fashion's  kingdom,  as  elsewhere.  Broad  belts 
or  sashes  were  universally  worn  too,  and  everything  was  made 
to  stand  out  about  the  shoulders.    Hats  were  rather  aggressively 


HISTORIC  DRESS  IN  AMERICA 


trimmed  with  projecting  bows  of  ribbon,  etc.  In  Figure  208 
will  be  seen  pictures  of  a  paper  doll  dressed  in  the  very  height 
of  the  fashion  of  1829.  It  was  owned  by  a  little  girl  in  Phila- 
delphia named  Elizabeth  Randolph.  The  costumes  are  all  well 
preserved,  as  the  photograph  shows,  but  the  original  doll  has 
been  lost  in  the  course  of  time  and  the  modern  representation 
who  now  displays  the  wardrobe  wears  high  heels,  which  no  fash- 
ionable doll  of  1829  would  have  thought  of  doing. 

Perhaps  the  original  doll  is  still  lamenting  her  fate  in  some 
obscure  closet  like  the  heroine  of  Eugene  Field's  pathetic 
verses : 

"Last  Year's  Doll 

"I'm  only  a  last  year's  doll ! 

I  thought  I  was  lovely  and  fair  — 
But  alas  for  the  cheeks  that  were  rosy, 

Alas  for  the  once  flowing  hair  ! 
I'm  sure  that  my  back  is  broken, 

For  it  hurts  me  when  I  rise, 
Oh,  I'd  cry  for  very  sorrow, 

But  I've  lost  out  both  my  eyes. 

11  In  comes  my  pretty  mistress, 

"With  my  rival  in  her  arms, 
A  fine  young  miss,  most  surely, 

Arrayed  in  her  borrowed  charms ! 
My  dress  and  my  slippers  too, 

But  sadder,  oh,  sadder  than  all, 
She's  won  the  dear  love  I  have  lost, 

For  I'm  only  a  last  year's  doll. 

"  Oh,  pity  me,  hearts  that  are  tender, 

Fm  lonely  and  battered  and  bruised, 
I'm  tucked  out  of  sight  in  the  closet, 

Forgotten,  despised  and  abused  ! 
I'm  only  a  last  year's  doll, 

Alone  with  my  troubled  heart, 
Sweet  mistress,  still  I  love  thee, 

Inconstant  though  thou  art." 


HISTORIC  DRESS  IN  AMERICA 


305 


Fancy  aprons  were  fashionable  for  little  girls  in  the  period 
of  the  thirties.  They  were  usually  made  of  silk  and  were  con- 
sidered very  stylish  when  made  with  bretelles  and  trimmed 
with  a  ruching  of  the  silk  as  shown  in  Figure  181.  But  fine 
muslin  aprons,  trimmed  with  lace  or  embroidery,  were  also 
worn ;  and  printed  calico  and  white  cross-barred  cambric, 
trimmed  with  narrow  frills  of  the  same,  were  used  for  the 
aprons  of  less  fashionable  children  for  many  years. 

The  costumes  in  fashion  for  little  boys  from  four  to  ten  were 
not  quite  as  simple  as  those  for  girls.  Sometimes,  it  is  true,  we 
notice  a  short-waisted  jacket  with  low  neck  and  sleeves,  like  a 
girl's,  but  the  ruffled  shirt  collars  and  close-fitting  jacket  and 
trousers  devised  by  Marie  Antoinette  for  the  unfortunate 
Dauphin,  were  very  generally  worn  by  boys  upward  from  the 
age  of  four  years. 

The  sketch  of  a  small  boy  from  a  print  of  1808  is  given  in 
Figure  194  showing  a  cloth  cap  with  a  full  soft  crown  and  a 
visor  worn  with  a  kerseymere  suit. 

In  Figure  195  a  boy  in  a  short-sleeved  tunic  with  full 
trousers  reaching  to  the  ankle,  copied  from  a  fashion  plate  of 
1810,  is  given.  The  straw  hat  is  turned  back  in  front  and  is  not 
very  unlike  the  hat  shown  in  Figure  203,  which  is  in  the 
interesting  collection  at  the  School  of  Industrial  Art,  Phila- 
delphia. 

In  Figure  174  we  give  a  picture  of  a  suit  worn  by  a  little 
American  boy,  about  four  years  old,  in  1804.  The  material  is 
a  striped  brown  and  white  calico,  and  the  pantaloons,  which  fit 
close  to  the  leg,  are  fastened  with  a  fly  front  like  a  man's.  The 
short  waisted  jacket  has  tight  long  sleeves  and  revers  at  the 
neck  in  front,  allowing  the  ruffled  collar  of  the  linen  shirt  to 
show.  It  is  a  fascinating  costume  and  we  consider  ourselves 
most  fortunate  in  securing  a  picture  of  it  for  this  book.  It 


1840-1851 

Figure  247. — 1841 — Eed  velvet  evening  dress.    From  a  portrait  by  "Winter- 
halter. 

Figure  248. — 1843 — "White  satin  dress  with  black  lace  flounces.    From  a 

portrait  by  "Winterhalter. 
Figure  249. — 1840 — "White  satin  ball  dress.    Portrait  by  Winterhalter. 
Figure  250. — 1840 — Moire  gown  trimmed  with  lace.    Portrait  by  Chalon. 
Figure  251. — 1850 — "Waved  hair  and  quaint  head-dress.    From  a  portrait 

of  Lola  Montez. 

Figure  252. — 1851 — Evening  dress  and  wrap.    From  a  portrait  of  the 
Duchess  of  Sutherland. 


HISTORIC  DRESS  IN  AMERICA 


309 


is  much  too  small  for  a  modern  boy  of  four,  however  ;  in  fact,  it 
was  a  tight  fit  for  the  little  fellow  of  two  and  a  half  who  posed 
in  it.  Evidently  this  was  the  style  of  suit  worn  by  Miss  Aus- 
ten's little  nephews  in  1801  and  mentioned  in  the  following  ex- 
tract from  a  letter  of  that  date  : 

"  Mary  has  likewise  a  message  :  she  will  be  much  obliged 
to  you  if  you  can  bring  her  the  pattern  of  the  jacket  and 
trousers,  or  whatever  it  is  that  Elizabeth's  boys  wear  when  they 
are  first  put  into  breeches ;  so  if  you  could  bring  her  an  old 
suit  itself,  she  would  be  very  glad,  but  that  I  suppose  is 
hardly  done." 

Some  years  later,  in  1809,  Miss  Austen  writes  of  getting  black 
suits  for  her  nephews  whose  father  had  just  died,  establishing 
for  us  the  fact  that  it  was  customary  for  little  boys,  as  well  as 
girls,  to  wear  mourning  for  their  parents. 

"  Mrs.  J.  A.  had  not  time  to  get  them  more  than  one  suit  of 
clothes  ;  their  others  are  making  here,  and  though  I  do  not  be- 
lieve Southampton  is  famous  for  tailoring,  I  hope  it  will  prove 
itself  better  than  Basingstoke.  Edward  has  an  old  black  coat, 
which  will  save  his  having  a  second  new  one,  but  I  find  that 
black  pantaloons  are  considered  by  them  as  necessary,  and  of 
course  one  would  not  have  them  made  uncomfortable  by  the 
want  of  what  is  usual  on  such  occasions." 

Before  promotion  to  trousers,  an  event  which  usually  took 
place  when  a  boy  had  reached  his  fourth  year,  queer  little 
tunics  of  merino  opening  down  the  front  and  reaching  below 
the  knees  were  worn  over  white  trousers  reaching  to  the  ankle 
either  of  material  to  match  or  of  white  linen.    (See  Figure  179.) 

In  the  thirties  exaggerated  leg-of-mutton  sleeves  were  worn 
even  by  boys.  In  Figure  197  a  suit  of  dark  green  merino  is 
shown,  copied  from  a  portrait  of  1833,  in  which  not  only  the 
sleeves  are  of  this  shape,  but  the  long  pantaloons  follow  the  same 


3 1 1 » 


HISTORIC  DRESS  IN  AMERICA 


lines,  being  cut  very  full  from  the  hip  to  the  knees,  and  taper- 
ing to  the  ankle.  This  was  worn  in  England  by  a  boy  of 
about  ten  years,  while  the  suit  with  very  pronounced  leg- 
of-mutton  trousers  in  Figure  198  was  worn  by  a  younger  brother 
of  eight. 

From  1830  to  1835  the  ordinary  costume  of  boys  over  ten 
years  of  age  was  a  suit  of  long,  rather  loose-fitting  pantaloons, 
a  waistcoat  cut  rather  low  and  showing  a  white  shirt  beneath, 
and  a  short  jacket  reaching  to  the  waist  line. 

The  hats  for  boys  of  the  early  part  of  the  nineteenth  century 
were  extremely  ugly.  The  jockey  cap  with  a  round  crown  and 
a  visor  is  seen  in  many  of  the  prints  from  1801  to  1810,  a  long 
tassel  hanging  down  over  the  left  ear  being  the  only  decoration. 
Then  came  the  stove-pipe  hat,  made  of  straw  in  summer  and  of 
beaver  in  winter,  which  was  actually  worn  for  several  years 
even  by  little  boys  in  frocks.  During  the  Regency  period 
(1810-1819)  caps  were  worn  with  crowns  of  cloth  and  visors  of 
enamelled  leather  as  in  Figure  178,  taken  from  a  drawing  of 
Boutet  de  Monvel.  From  1820  to  1830  hats  worn  by  small 
boys  were  like  that  shown  in  Figure  351,  with  rather  high 
crowns  and  straight  brims.  In  1830  high  hats  were  worn  by 
very  fashionable  boys  in  trousers  (see  Figure  182)  which  looked 
like  inverted  flower  pots.  Beauty  and  fitness  seem  not  to  have 
been  considered. 


Children's  Garments 

1835-1870 

"  Young  ladies  then  wore  gowns  with  sleeves, 
Which  would  j  ust  hold  their  arms  ; 
And  did  not  Lave  as  many  yards 
As  acres  in  their  farms." 

HE  leg-of-mutton  sleeves,  which  in  1835  had 
indeed  reached  extravagant  proportions,  de- 
clined in  favour  for  the  gowns  of  little  girls 
towards  the  end  of  that  year.  In  1836 
sleeves  were  made  less  full  and  gathered 
into  three  puffs  from  shoulder  to  wrist,  or 
the  fullness  was  laid  in  flat  plaits  at  the  top 
of  the  arm,  hung  loose  about  the  elbow  and 
was  finished  with  a  cuff  at  the  wrist.  A  little 
later  straight,  close-fitting  sleeves  trimmed 
with  frills  and  puffings  were  popular.  In  1840  sleeves  to  the 
elbow  were  introduced.  This  fashion  still  retains  its  popularity 
and  is  very  appropriate  as  well  as  becoming.  In  the  forties 
sleeves  for  little  girls  were  often  made  to  reach  a  little  below 
the  elbow,  showing  undersleeves  of  white  muslin.  A  small 
plaited  frill  of  the  muslin  was  worn  at  the  throat.  For  girls  of 
fifteen  pelerines  were  in  vogue.  They  were  fastened  at  the  waist, 
both  front  and  back,  and  trimmed  with  frills  of  lace  or  muslin. 
In  the  fifties  big  sleeves  with  muslin  undersleeves  were  worn 
by  girls  from  twelve  years  up. 

After  the  decline  of  the  leg-of-mutton  sleeves  and  trousers, 

311 


312 


HISTORIC  DRESS  IN  AMERICA 


boys  wore  tight  sleeves,  but  the  pantaloons,  as  we  notice  in 
many  of  the  portraits  between  1835  and  1850,  were  usually 
loose  at  the  ankle.  The  following  extract  is  from  an  American 
book,  late  in  the  forties  : 

"  Small  jacket,  open  and  rounded  in  front,  of  dark  velvet, 
cloth,  or  cashmere,  with  buttons  of  the  same.  Small  square 
linen  collar  turned  over,  a  ribbon  necktie.  Loose  trousers  of 
blue  and  white  striped  linen.    Cap  of  dark  cloth." 

From  1835  to  1850  we  notice  in  the  fashion  plates  as  well  as 
in  portraits  that  most  of  the  skirts  were  trimmed  with  flounces, 
and  until  1846  the  pantalets  covered  the  tops  of  the  shoes,  but 
at  the  end  of  the  forties  pantalets  were  worn  shorter  and  gradu- 
ally disappeared.  In  fact  in  the  fifties  they  were  visible  only 
on  very  small  children  and  under  very  short  skirts.  Plaids 
and  graduated  stripes  were  very  fashionable  for  both  boys  and 
girls  throughout  that  decade. 

Before  1835  the  hair  was  usually  worn  parted  in  the  middle 
by  girls  of  all  ages.  Curls  were  fashionable  and  by  the  help  of 
curling  tongs  were  easily  acquired  by  every  one.  Maggie 
Tulliver's  short  mop  of  hair  was  a  special  vexation,  we  know,  to 
her  mother,  who  always  felt  a  pang  of  envy  at  the  sight  of 
Lucy's  neatly  arranged  curls.  But  for  a  time  between  1835  and 
1870  a  very  popular  fashion  was  to  plait  the  hair  in  two  long 
braids,  like  the  two  eldest  Kenwigs  who,  as  we  recall,  "  had 
flaxen  hair  tied  with  blue  ribbons  in  luxuriant  pigtails  down 
their  backs."  Some  time  in  the  forties  it  became  fashionable  to 
comb  the  hair  back  from  the  forehead  without  a  part,  and 
springs  of  steel  covered  with  ribbon  or  velvet  were  introduced  to 
keep  it  in  place.  Back-combs  were  another  novelty  introduced 
for  the  same  purpose.  Older  girls  arranged  the  back  hair  in  a 
net  of  silk  or  chenille,  as  in  Figure  205,  or  fastened  the  "  pig- 
tails "  in  a  coil  at  the  back,  as  in  Figure  201. 


HISTORIC  DRESS  IN  AMERICA 


313 


Boys  wore  the  hair  parted  very  much  to  one  side  at  that 
time,  and  it  was  not  cropped  close  to  the  head  as  is  the  fashion 
of  to-day.  About  1860  the  fashion  of  parting  the  hair  directly 
in  the  middle  was  introduced  and  followed  for  some  years  by 
big  boys  as  well  as  men,  although  this  change  was  considered 
effeminate  at  first,  and  consequently  disliked  by  little  boys  am- 
bitious for  promotion  to  long  pantaloons. 

Bonnets  and  hats  were  equally  fashionable  for  girls  from 
1835  to  1860.  Illustrations  of  the  prevailing  styles  of  both  are 
given  in  Figures  181,  184,  187,  and  190.  In  Miss  Whitney's 
"  Stories  of  New  England  "  a  great  deal  is  said  about  the  clothes 
of  girls  from  1840  to  1850.  We  learn  that  when  Augusta  Hare, 
who  was  almost  grown  up,  appeared  to  the  unsophisticated  eyes 
of  Anstiss  Dolbeare  in  mourning  for  her  father,  wearing  "  a 
black  merino  shawl  and  long  veil  that  made  her  face  so  sweet 
and  fair,  these  garments  were  to  my  childish  fancy  the  very 
poetry  of  bereavement,  there  seemed  a  grandeur  and  solemn 
distinction  in  having  lost  a  friend.  My  openworked  straw  bon- 
net with  blue  gauze  ribbons  seemed  so  tawdry,  so  little  girlish." 

The  adventures  of  this  straw  bonnet  were  very  interesting. 
Anstiss,  having  seen  some  scarfs  of  silk  with  fringed  ends,  which 
Augusta  Hare  had  brought,  longed  to  have  one  too,  but  knew 
that  "  Aunt  Ildy  "  would  never  listen  to  such  an  extravagance. 

The  next  morning,  however,  Anstiss  saw  the  pretty  face  of 
Miss  Augusta  smiling  at  her  from  the  doorway.  She  was 
dressed  on  this  occasion  "in  a  clear  black  muslin  with  the  tiniest 
dash  of  white,  and  a  knot  of  black  ribbon  in  her  hair.  In  her 
hand,  streaming  down  in  brilliant  contrast  over  her  dress,  was 
a  rich  broad  bonnet  scarf  of  blue  with  fringed  ends."  In  a  short 
time  the  despised  bonnet  was  completely  transformed  and  not 
until  this  change  was  accomplished  did  Anstiss  realize  how  dif- 
ficult it  would  be  to  gain  her  aunt's  approval.    Hastily  the  bon- 


314 


HISTORIC  DRESS  IN  AMERICA 


net  was  put  away  on  a  shelf  in  the  closet  and  when  finally  the 
aunt  discovered  the  change,  the  little  girl  was  sent  to  bed  under 
most  aggravating  circumstances  and  the  old  trimming  replaced 
by  the  angry  fingers  of  Aunt  Ildy,  whose  displeasure  was  visibly 
expressed  in  the  hopelessly  flattened  bows  of  the  old  gauze  trim- 
ming. And  yet  the  fashion  which  was  new  in  1840  was  by  no 
means  elaborate.  A  scarf  "  was  passed  up  from  under  the  chin 
across  the  bonnet  in  the  depression  between  the  brim  and  crown 
and  tied  at  one  side  with  a  careless  knot,  long  ends  fluttering 
down  upon  the  shoulder."  According  to  the  simple  habits  of 
New  England  village  life,  a  Dunstable  straw  was  worn  by  girls 
until  Thanksgiving  and  then  replaced  by  a  bonnet  of  beaver. 

Sunbonnets  of  calico,  stiffened  with  many  rows  of  cording, 
were  much  worn  in  summer  time  by  little  country  girls.  In 
winter  quilted  hoods,  like  the  sketch  in  Figure  132,  were  sub- 
stituted. A  specimen  of  a  pink  sunbonnet  of  the  above  descrip- 
tion worn  by  a  little  girl  in  Pennsylvania  is  shown  in  Figure 
132. 

A  little  girl  of  twelve  "  was  allowed  one  clean  print  gown 
and  two  aprons  each  week,  a  change  and  one  for  best,  and  if  she 
spilled  or  tore  she  went  to  bed."  Calicoes  that  were  well  cov- 
ered and  would  wash,  silk  that  would  wear  and  turn,  and  above 
all,  things  that  were  "  in  the  house  "  and  could  be  made  over 
were  usually  allotted  to  little  girls.  They  were  undeniably  cal- 
culated to  discourage  vanity. 

Infant  caps  were  small  and  close-fitting  and  were  trimmed 
with  ruchings  of  lace  and  ribbon  from  1835  to  1870.  A  picture 
of  one  trimmed  in  this  way  is  given  in  Figure  160.  A  narrow 
satin  ribbon  with  a  loop  edge  was  used  for  this  purpose  up  to 
1870. 

The  following  description  of  a  costume  for  a  little  girl  four 
or  five  years  old  is  quoted  from  the  "  Lady's  Book  "  for  1849  : 


HISTORIC  DRESS  IN  AMERICA 


315 


"  Dress  of  shaded  silk  (grey  and  rose-colour).  The  skirt 
very  full  and  edged  at  the  bottom  by  a  broad  hem,  headed  by  a 
row  of  gimp  in  tints  corresponding  with  the  shades  of  the  silk. 
The  corsage  is  half  high,  square  in  front,  and  plaited  in  broad 
folds,  which  are  confined  by  a  band  at  the  top  and  at  the  waist. 
Short  sleeves  edged  by  two  bias  folds  of  silk  headed  by  gimp. 
Under  the  corsage  is  worn  a  spencer  chemisette  of  jaconet  mus- 
lin drawn  on  the  neck  in  fullness,  and  set  on  a  band  at  the 
throat.  The  chemisette  has  long  sleeves,  slightly  full,  and 
drawn  on  wrist  bands.  Loose  trousers  of  cambric  muslin,  edged 
at  the  bottom  by  a  bordering  of  needlework.  The  hair  divided 
on  the  forehead  and  combed  straight  to  the  back  of  the  neck, 
where  it  hangs  down  in  long  plaits.  Boots  of  black  glazed 
leather,  with  grey  cashmere  tops." 

For  an  older  girl  an  English  magazine  gives  the  following 
for  the  same  year  : 

"  Coarse  straw  bonnet  lined  and  trimmed  with  blue  silk. 
White  openworked  muslin  waist,  and  a  skirt  of  some  light  and 
delicate  material.  It  may  either  be  a  glace  silk,  as  in  the  plate, 
or  lawn,  French  cambric,  etc.  Pantalettes  quite  plain  and  fin- 
ished by  a  narrow  frill." 

In  the  hoop-skirt  days  (1855-1865)  little  girls  of  seven  years 
and  over  wore  those  weird  inventions  too,  but  the  decline  of  the 
pantalets  was  heralded  at  the  same  time.  White  lingerie 
blouses  were  worn  very  much  by  young  girls  and  Zouave  jack- 
ets worn  with  skirts  to  match  or  of  a  contrasting  colour  were  in 
vogue  from  1860.  (See  Figure  205.)  Garibaldi  blouses  were 
the  next  novelty  and  they  won  universal  favour.  Suits  consist- 
ing of  a  grey  skirt,  trimmed  with  a  broad  band  of  plain  colour 
above  the  hem,  and  a  Garibaldi  blouse,  of  the  same  colour  as 
the  trimming,  were  "  quite  the  rage  "  during  the  struggle  for 
independence  in  Italy.    Solferino  and  Magenta  were  the  fa- 


1850-1860 

Figure  253. — 1857 — Straw  hat  with  drooping  brim  and  streamers  of  ribbon. 
From  a  plate. 

Figure  254. — 1856 — Bonnet  of  pale  blue  uncut  velvet  and  white  blond 
lace.    Miss  Dutihl's  collection  in  Memorial  Hall,  Philadelphia. 

Figure  255. — 1855 — Dress  of  silk  with  alternate  stripes  of  brown  and  white 
plaid  and  coloured  flowers.  The  basque  and  bell  sleeves  are  trimmed 
with  fringe  and  gimp  heading  of  pink  and  brown.  The  picture  is  taken 
from  a  dress  worn  in  Philadelphia.  Head  showing  a  braided  coronet  of 
hair.    From  a  contemporary  portrait. 

Figure  256. — 1859 — Bonnet  of  black  velvet  and  corded  silk.  Has  had  a 
bunch  of  currants  and  a  red  feather  around  on  the  side.  Miss  Dutihl's 
collection. 

Figure  257. — 1850-60— Black  velvet  wrist-band  with  mosaic  clasp. 


HISTOEIC  DEESS  IN  AMEEICA 


319 


vourite  shades  of  red,  named  of  course  for  the  famous  battles. 
Boys  wore  these  blouses  too,  with  long  pantaloons.  Later  a 
fancy  for  plaid  materials  prevailed  over  the  plain  colours.  (See 
Figures  183,  189  and  201.) 

It  was  the  fashion  in  1840  and  after,  to  make  dresses  for  girls 
with  low  or  half-low  bodices,  to  be  worn  over  guimpes  of  white 
muslin  (Figure  201).  The  skirts  were  made  very  full  and  were 
often  lined  with  crinoline  or  worn  over  petticoats  of  crinoline  like 
their  mothers'.  Instead  of  a  bodice  an  arrangement  of  bretelles 
was  often  worn  by  little  girls,  as  in  the  initial  at  the  head  of  this 
chapter.  Shoes  made  of  morocco  or  leather,  with  cloth  tops, 
called  gaiter  boots  or  gaiters,  were  much  worn  from  1835  to 
1870  (Figures  181,  183,  184,  186  and  189).  Sashes  of  ribbon 
tied  at  the  back  with  long  ends  reaching  to  the  end  of  the  skirt 
were  in  general  vogue. 

In  the  sixties  velvet  ribbon  and  braid  were  the  favourite 
trimmings  and  were  used  in  a  great  variety  of  designs. 

Bonnets  at  last  went  out  of  fashion  in  1860  and  even  big 
girls  began  to  wear  hats  instead.  All  the  shapes  worn  by  grown 
people  were  adopted  for  children  at  this  time.  The  mushroom, 
the  turban,  and  the  pork-pie  were  worn  very  generally  by  girls 
of  from  ten  to  eighteen.  For  little  girls  under  ten  hats  with 
low  crowns  and  wide  flapping  brims  were  fashionable.  They 
were  popularly  called  "  flats,"  and  when  simply  trimmed  with  a 
wreath  of  small  flowers  or  a  band  and  ends  of  ribbon  were  ex- 
ceedingly pretty  and  becoming. 

The  little  girl  of  Austin  Dobson's  verses,  "  Little  Blue-Rib- 
Dons,"  probably  wore  a  hat  of  this  shape  : 

"  ( Little  Blue-Eibbons.'    We  call  her  that 

From  the  ribbons  she  wears  in  her  favourite  hat ; 
For  may  not  a  person  be  only  five 
And  yet  have  the  neatest  of  taste  alive  ? 


320 


HISTOEIC  DRESS  IN  AMERICA 


As  a  matter  of  fact,  this  one  lias  views 
Of  the  strictest  sort  as  to  frocks  and  shoes  ; 
And  we  never  object  to  a  sash  or  bow, 
When  'Little  Blue-Ribbons '  prefers  it  so." 

For  dressy  occasions  in  the  fifties  suits  of  black  velvet  or 
velveteen  were  worn  by  little  boys  under  ten  and  made  often 
with  full  short  trousers  to  the  knee.  Queen  Victoria  adopted 
the  Highland  suit  of  Scotch  tartan  for  the  English  Princes  on  a 
visit  to  Balmoral  in  1854,  and  the  Highland  dress,  especially  the 
kilts,  soon  "oecame  popular  for  boys  from  five  to  ten  all  the 
world  over  (Figure  162). 

"The  Coming  Man 
"  A  pair  of  very  chubby  legs 
Encased  in  scarlet  hose  : 
A  pair  of  little  stubby  boots 
With  rather  doubtful  toes  ; 
A  little  kilt,  a  little  coat 
Cut  as  a  mother  can, 
And  lo  !  before  us  strides  in  state 
The  Future's  coming  man." 

Another  fashion  which  at  once  became  popular,  and  which 
probably  had  a  similar  origin,  was  the  sailor  costume,  which  was 
worn  by  boys  from  about  seven  to  fourteen  (Figure  161).  Larger 
boys,  of  fifteen  and  upward,  at  this  period  wore  long  pantaloons 
like  their  fathers,  with  round  short  jackets  to  match,  as  in  Figure 
206.  In  England  the  high  hat  was  still  the  regulation  head-gear 
for  little  boys  and  for  }'oung  men  in  the  winter,  but  soft  felt  and 
straw  hats  of  the  sailor  type  will  be  seen  in  most  of  the  con- 
temporary illustrations. 

Although  dolls  of  the  nineteenth  century  were  not  used  as 
fashion  models,  they  were  always  dressed  according  to  the  pre- 
vailing styles,  and  the  few  of  them  that  have  outlived  their 


HISTORIC  DRESS  IN  AMERICA 


321 


generation  record  the  fashions  of  their  time.  For  instance,  the 
doll  in  Figure  211  is  dressed  in  the  Bloomer  costume,  which 
was  introduced  in  1851.  Although  it  is  happily  quite  out  of 
fashion,  this  costume  has  become  historic.  In  Figure  209,  a 
photograph  of  an  interesting  doll  of  the  forties  with  her  front 
hair  in  (painted)  braids  in  the  fashion  adopted  by  Queen 
Victoria  is  given.  Her  wedding  gown  is  of  white  satin  trimmed 
with  silver  and  her  veil  and  wreath  of  white  flowers  are  worn  in 
the  height  of  the  fashion  of  1840,  the  year  of  the  Queen's  mar- 
riage. This  doll  also  possesses  a  stylish  bonnet  of  white  tulle 
and  white  flowers.  Another  doll  of  about  1850  is  shown  in 
Figure  210,  wearing  the  fashionable  pantalets  and  an  apron 
with  bretelles,  which  were  thought  almost  indispensable  for 
little  girls  at  that  time.  The  two  last  mentioned  are  wooden 
dolls  "  with  necks  so  white,  and  cheeks  so  red."  They  have 
probably  outlived  more  than  one  waxen  rival  like  the  wooden 
doll  of  Jane  Taylor's  verses. 

''The  Wooden  Doll  and  the  "Wax  Doll 
"  There  were  two  friends,  a  charming  little  pair 
Brunette  the  brown,  and  Blanchidiue  the  fair : 
This  child  to  love  Brunette  did  still  incline, 
And  much  Brunette  loved  sweet  Blanchidine. 
Brunette  in  dress  was  neat  yet  wond'rous  plain, 
But  Blanchidine  of  finery  was  vain. 

"  Now  Blanchidine  a  new  acquaintance  made, 
A  little  miss,  most  splendidly  arrayed  : 
Feathers  and  laces  most  beauteous  to  behold, 
And  India  frock,  with  spots  of  shining  gold. 
Said  Blanchidine,  a  miss  so  richly  dressed, 
Most  sure  by  all  deserves  to  be  caressed  ; 
To  play  with  me  if  she  will  condescend, 
Henceforward  she  shall  be  my  only  friend. 
For  this  new  miss,  so  dressed  and  so  adorned, 
Her  poor  Brunette  was  slighted,  left,  and  scorned. 


322 


HISTOEIC  DEESS  IN  AMEEICA 


"  Of  Blanchidine's  vast  stock  of  pretty  toys, 
A  wooden  Doll  her  every  thought  employs  ; 
Its  neck  so  white,  so  smooth,  its  cheeks  so  red, 
She'd  kiss,  she'd  hug,  she'd  take  it  to  her  bed. 

"  Mother  now  brought  her  home  a  Doll  of  wax, 
Its  hair  in  ringlets  white  and  soft  as  flax ; 
Its  eyes  could  open,  and  its  eyes  could  shut, 
And  on  it  with  much  taste  its  clothes  were  put, 
My  dear  wax  doll,  sweet  Blanchidine  would  cry : 
Her  doll  of  wood  was  thrown  neglected  by. 

"  One  summer's  day,  'twas  in  the  month  of  June, 
The  sun  blazed  out  in  all  the  heat  of  noon, 
My  waxen  doll,  she  cried,  my  dear,  my  charm, 
You  feel  quite  cold,  but  you  shall  soon  be  warm. 
She  placed  it  in  the  sun — misfortune  dire  ! 
The  wax  ran  down  as  if  before  the  fire  ! 
Each  beauteous  feature  quickly  disappeared, 
And  melting  left  a  blank  all  soiled  and  smeared. 

"  She  stared,  she  screamed  with  horror  and  dismay, 
You  odious  fright,  she  then  was  heard  to  say  ; 
For  you  my  silly  heart  I  have  estranged, 
From  my  sweet  wooden  Doll,  that  never  changed. 
Just  so  may  change  my  new  acquaintance  fine, 
For  whom  I  left  Brunette,  that  friend  of  mine. 
No  more  by  outside  show  will  I  be  lured, 
Of  such  capricious  whims  I  think  I'm  cured  : 
To  plain  old  friends  my  heart  shall  still  be  true, 
Nor  change  for  every  face  because  'tis  new. 
Her  slighted  wooden  doll  resumed  its  charms, 
And  wronged  Brunette  she  clasped  within  her  arms. 


QUAKER  COSTUME 

and 

Dress  of  the  Shakers 
1800-1870 


"The  Friend 


'  In  patriarchal  plainness,  lo  !  around 
The  festive  board,  a  friendly  tribe  convene  ; 
Chaste,  simple,  neat,  and  modest  in  attire, 
And  chastely  simple  in  their  manners  too  ; 
To  them  her  gay  varieties  in  vain 
Fashion  displays,  inconstant  as  the  moon. 
Them  to  allure,  in  vain  does  chymic  art 
For  human  vestments  multiply  its  dyes. 
One  mode  of  dress  contents  them,  and  but  few 
The  colours  of  their  choice — the  gaudy  shunned 
E'en  by  the  gentle  sisterhood.    In  youth, 
The  rose's  vivid  hue  their  cheeks  alone 
"Wear,  dimpling  ;  shaded  by  a  bonnet  plain, 
White  as  the  cygnet's  bosom  ;  jetty  black 
As  raven's  wing  :  or  if  a  tint  it  bear, 
?Tis  what  the  harmless  dove  herself  assumes. 
The  hardier  sex,  an  unloop'd  hat,  broad  brimm'd, 
Shelters  from  summer's  heat  and  winter's  cold  ; 
That  from  its  station  high  ne'er  deigns  to  stoop, 
Obsequious  not  to  custom  nor  to  king  ; 
Yet,  though  precise,  and  primitive  in  speech, 
Eestrain  they  not  the  smile,  the  seemly  jest, 
Nor  e'en  the  cordial  laugh,  that  cynics  grave 
Falsely  assert  'bespeaks  a  vacant  mind.' 
Serenely  gay,  with  generous  ale  they  fill 
The  temp'rate  cup  :  no  want  of  new-coined  toast 
To  give  it  zest ;  '  Good  fellowship  and  peace ' 
Their  sentiment,  their  object,  and  their  theme." 

— From  "  The  Evening  Fireside. 


Quaker  Costume 

1800-1870 


"  While  Quaker  folks  were  Quakers  still  some  fifty  years  ago, 
When  coats  were  drab  and  gowns  were  plain  and  speech  was 
staid  and  slow 

Before  Dame  Fashion  dared  suggest  a  single  friz  or  curl." 

N  the  first  years  of  the  new  century  a  very 
distinct  costume  was  worn  by  the  Quakers. 
Not  only  were  all  colours  but  grey  and 
brown  and  white  eschewed  by  strict  mem- 
bers of  the  sect,  but  black  was  considered 
worldly.  Everything  they  wore  was  of  the 
best  quality,  most  durably  made  and  most 
neatly  adjusted.  Beaver  hats  with  brims 
especially  broad  were  worn  by  Quaker  men 
for  the  greater  part  of  the  century.  In  the 
words  of  an  English  essayist :  "  A  Quaker's  hat  is  a  more  for- 
midable thing  than  a  Grandee's,"  and  "  Broad  Brim  "  is  one  of 
the  most  familiar  soubriquets  by  which  members  of  the  Society 
of  Friends  are  known. 

Short  clothes  were  worn  by  more  than  usually  conservative 
Quaker  gentlemen  throughout  the  thirties.  A  picture  of 
Gabriel  Middleton,  said  to  have  been  the  last  man  in  Philadel- 
phia to  wear  knee-breeches,  is  given  in  Figure  351.  It  is 
copied  from  a  daguerreotype  taken  in  1840,  and  shows  the  dress 

fashionable  in  the  beginning  of  the  century,  and  "  the  hat 

327 


■ 


1838-1866 

Figure  258. — 1852 — Outdoor  costume ;  dress  of  cashmere,  cloak  of  soft 

English  cloth.    From  a  contemporary  portrait. 
Figure  259.— 1840— Typical  Quaker  dress  of  1840  and  after,  with  slight 

variations  in  the  fullness  of  skirt  and  sleeves.    This  costume  was  worn 

in  Pennsylvania  in  1840. 
Figure  260. — 1866 — Fashionable  indoor  gown  of  black  taffeta  trimmed 

with  velvet  ribbon.    From  a  photograph. 
Figure  26L — 1850 — Gown  opening  over  a  chemisette  of  shirred  muslin  and 

insertion,  with  undersleeves  to  match.    From  a  portrait  of  the  day. 
Figure  262. — 1865 — Old  lady  in  Quaker  dress.    The  shawl  is  of  a  soft 

woven  fabric  called  Chenille.    The  bonnet  is  a  grey  silk  shirred  over 

small  reeds.    From  a  photograph. 
Figure  263. — 1838 — Widow's  mourning;  bombazine  dress  with  trimming 

of  crepe.    Collar  and  cap  trimmed  with  goffered  frills.    From  a  portrait 

of  Queen  Adelaide. 


HISTORIC  DRESS  IN  AMERICA 


331 


which  had  not  yet  lost  all  its  original  beaver,"  but  was  still 
adhered  to  by  the  Friends.  The  coat  is  cut  high,  but  is  made 
without  a  collar  and  the  plain  buttoned  waistcoat  is  also  high 
and  collarless.  In  the  initial  to  this  chapter  the  picture  of  a 
Quaker  gentleman  of  Philadelphia  is  given,  taken  from  a 
pencil  sketch  made  by  Dr.  Valentine  in  1838. 

The  subject  of  Quaker  costume  has  been  so  ably  covered  by 
Mrs.  Gummere*  that  it  is  not  necessary  to  attempt  a  description 
in  these  pages.  Only  one  to  the  persuasion  born  could  master 
the  subtle  differences  in  the  garb  of  the  two  factions,  the 
Orthodox  and  Hicksite  Friends.  To  the  worldly  eye  the  most 
obvious  distinction  seems  to  be  that  the  Orthodox  Quakers  wear 
unorthodox  garments,  while  the  followers  of  Hicks  dress  in 
ordinaiy  apparel.  The  division  of  the  sect  took  place  in  1827. 
The  Orthodox  members  were  at  one  time  so  strict  in  matters  of 
dress  that  even  buttons  were  forbidden  as  unnecessary  orna- 
ments. It  has  been  narrated  that  on  one  occasion  a  Friend  was 
publicly  rebuked  at  a  Meeting  in  Philadelphia  for  a  breach  of 
this  regulation,  whereupon  the  spirit  moved  Nicholas  Wain,  a 
famous  preacher  of  his  day,  to  remark  that  "  if  religion  con- 
sisted of  a  button,  he  did  not  care  a  button  for  religion." 

The  Friends  of  the  first  quarter  of  the  nineteenth  century 
were  conservative  in  customs  as  well  as  in  costumes.  In  the 
diary  of  William  Howitt  we  read  of  the  observance  of  mourn- 
ing in  England  in  the  year  1820  : 

"  A  day  I  have  not  forgotten  was  when  I  was  sent  on  Peter 
to  the  Friends'  families  for  some  miles  round,  to  invite  them  to 
the  burial  of  my  paternal  grandmother.  This  was  called 
'  Biddin'  to  the  berrin'.'  At  all  the  country  funerals  then 
people  got  their  black  crape  hatband  and  pair  of  black  gloves, 
but  the  Friends  not  wearing  mourning,  we  gave  a  pair  of  drab 

*  The  Quaker,  a  Study  in  Costume. 


332 


HISTORIC  DRESS  IN  AMERICA 


gloves.  At  the  funeral  the  guests  were  treated  to  wine  and 
cake  made  for  the  purpose,  called  '  berrin'  cake,'  and  when  the 
funeral  left  the  house  each  person  received  the  customary 
gloves  and  a  square  piece  of  '  berrin'  cake  '  wrapped  in  white 
paper  and  sealed." 

The  following  extract  from  a  letter  of  Mar}'  Howitt  describes 
the  wedding  costume  of  that  most  gentle  poetess  : 

"  On  the  lGth  of  Fourth  month,  1821,  we  were  married,  I 
wearing  my  first  silk  gown,  a  very  pretty  dove-colour,  with 
bonnet  of  the  same  material,  and  a  soft  white  silk  shawl. 
Shawls  were  greatly  in  vogue,  especially  amongst  Friends,  and 
my  attire  was  thought  very  appropriate  and  becoming.  For  a 
wedding-tour  my  husband  took  me  to  every  spot  of  beauty  or 
old  tradition  in  his  native  country,  romantic,  picturesque 
Derbyshire." 

A  very  interesting  portrait  miniature  of  Miss  Woolston,  a 
Hicksite  Friend,  is  given  in  Figure  70  ;  the  hair  is  arranged  in 
curls  and  held  in  place  by  combs  at  the  side,  and  a  very  high 
comb  of  the  prevailing  fashion  of  1824  is  worn  at  the  back. 
The  very  sheer  lawn  collar  is  of  an  unusual  design,  and  the  low 
cut  dress  is  of  black  which  was  considered  worldly  by  Ortho- 
dox Friends.  Another  costume  of  interest  is  shown  in  Figure 
259.  The  short  waist  and  the  scanty  skirt,  as  well  as  the  little 
cap  with  the  bridle  of  ruffled  lawn  under  the  chin,  will  be 
noticed  in  portraits  of  the  twenties,  although  this  costume  was 
worn  by  a  Quaker  in  Pennsylvania  until  1840. 

The  bonnets  worn  by  Quaker  ladies  were  decidedly  distinct- 
ive. Pictures  of  them  will  be  seen  in  Figures  293  and  286. 
Figure  286  shows  the  bonnet  worn  with  the  costume  in  Figure 
289,  which  is  also  of  brown  satin. 

An  ingenious  device  to  protect  bonnets  from  the  rain  was 
used  by  the  Friends.    It  consisted  of  a  carefully  fitted  cover 


HISTORIC  DEESS  m  AMERICA 


333 


which  could  be  folded  into  a  small  parcel  and  carried  in  the 
reticule  until  needed.  In  Figure  291  a  picture  of  one  of  these 
rain  covers  is  given,  drawn  from  the  original  in  Memorial 
Hall,  Philadelphia.  The  shape  suggests  that  it  was  in  use  dur- 
ing the  forties. 

The  slight  changes  in  Quaker  fashion  are  exemplified  in  the 
interesting  costume  in  Figure  289,  which  resembles  with  absolute 
fidelity  the  dress  of  Elizabeth  Fry  in  the  portrait  by  Rich- 
mond painted  in  1824,  although  it  was  worn  by  Mrs.  Johnson 
of  Philadelphia  about  1860. 

DRESS  OF  THE  SHAKERS 

Although  the  belief  and  rites  of  the  sect  called  "  Shakers  " 
are  very  different  from  the  tenets  and  practice  of  the  Quakers, 
there  is  a  similarity  in  dress  which  it  seems  appropriate  to  de- 
scribe at  this  point  in  our  history.  The  most  flourishing  settle- 
ment of  their  community  is  at  New  Lebanon,  New  York. 

As  this  sect  is  gradually  dying  out  and  their  ways  and  cere- 
monials will  before  many  years  have  become  obsolete,  we  will 
give  the  following  account  of  a  visitor  to  this  Shaker  village  in 
1829,  describing  the  costume  which  still  remains  unchanged. 

"  The  Elders  wear  long  plain  coats  and  wide  brimmed  hats, 
but  the  Sunday  costume  of  the  ordinary  man  consists  of  panta- 
loons of  blue  linen  with  a  fine  white  stripe  in  it,  vest  of  a  much 
deeper  blue  linsey-woolsey,  stout  calfskin  shoes  and  grey  stock- 
ings. Their  shirts  are  made  of  cotton,  the  collars  fastened  with 
three  buttons  and  turned  over.  The  women  wear,  on  Sunday, 
some  a  pure  white  dress,  and  others  a  white  dress  with  a  deli- 
cate blue  stripe  in  it.  Over  their  necks  and  bosoms  were  pure 
white  kerchiefs,  and  over  the  left  arm  of  each  was  carried  a 
large  white  pocket  handkerchief.    Their  heads  were  covered 


HISTORIC  DRESS  IN  AMERICA 


with  lawn  caps,  the  form  of  all,  for  both  old  and  young,  being 
alike.  They  project  so  as  to  fully  conceal  the  cheeks  in  profile. 
Their  shoes,  sharp-toed  and  high-heeled,  according  to  the  fashion 
of  the  day  when  the  Society  was  formed  [1747],  were  made  of 
prunella  of  a  brilliant  ultramarine  blue.  And  there  were  chil- 
dren too,  with  cheerful  faces  peering  out  from  their  broad  hats 
and  deep  bonnets,  for  they  were  all  dressed  like  old  men  and 
women.  I  marvelled  at  the  sight  of  children  in  that  isolated 
world  of  bachelors  and  maidens,  forgetting  that  it  was  a 
refuge  for  orphans  who  are  unsheltered  in  the  stormy  world 
without." 

Perhaps  a  brief  account  of  Shaker  worship  by  an  eye-wit- 
ness may  be  of  interest  to  our  readers  in  connection  with  their 
severe  costumes. 

"  As  I  entered  the  room,  the  Shakers  were  arranging  them- 
selves on  both  sides  of  it ;  the  women  on  the  right  and  the  men 
on  the  left.  Some  of  the  men  had  taken  off  their  coats,  and 
placed  them  aside.  They  formed  themselves  into  figures, 
leaving  an  open  space  in  the  centre  which  I  afterwards  found 
was  for  any  one  who  chose  to  address  the  society.  They  stood 
in  this  position  for  some  time,  without  a  word  being  spoken  by 
any  one  ;  and  their  countenances  wore  a  serenity  and  fixedness 
very  unusual  among  any  denomination  or  class  of  people.  The 
hands  of  all  were  pressed  together ;  and  the  women  had  hand- 
kerchiefs hanging  vertically  from  their  arms,  clean  from  the 
drawer,  and  half  unfolded.  They  stood  thus  nearly  ten  min- 
utes, with  their  eyes  bent  upon  the  floor,  and  you  might  have 
heard  a  pin  drop,  so  very  still  was  every  one  in  the  building. 
They  forcibly  reminded  me  of  the  sleeping  scene  in  the  En- 
chanted Castle,  if  I  may  not  be  thought  making  an  ir- 
reverent comparison.  Presently,  a  man  who  seemed  the  chief 
among  them,  broke  the  silence,  by  suddenly  commencing  a 


HISTORIC  DRESS  IN  AMERICA  335 


tune  upon  a  base  key,  and  ascending  suddenly  to  a  sharp  one. 
His  next  hand  neighbour  joined  and  the  next,  and  the  next,  each 
a  little  behind  the  other  ;  and  then  by  degrees  the  females,  till 
every  voice  in  the  room  swelled  the  fitful  chorus ;  yet  they 
seemed  as  incapable  of  motion  as  statues  ;  except  their  hands, 
which  were  gently  lifted  to  keep  time  to  their  voices  and  of 
which  you  would  know  nothing  unless  your  eyes  were  turned 
to  them.  This  tune  continued  about  ten  minutes  ;  after  which 
followed  a  breathing  time  of  several  more,  during  which  a 
death-like  silence  again  prevailed.  The  man  whom  I  took  to 
be  the  chief  among  them,  then  came  forward  into  the  space  I 
have  mentioned,  and  addressed  the  society,  calling  the  members 
of  it  brothers  and  sisters.  His  voice  was  so  low  that  I  could 
only  catch  a  few  words ;  enough,  however,  to  assure  me  that 
his  speech  was  directed  alone  to  the  Society,  and  was  not  in- 
tended for  others.  The  burthen  of  his  remarks  was,  as  well  as 
I  could  hear,  the  importance  of  the  Gospel  to  mankind,  and  the 
inducements  they  had  to  exertion,  under  the  Christian  revela- 
tion. Then  followed  another  tune,  in  which  all  joined  with  the 
same  devotion  as  before,  after  which  another  member  came 
forward  and  spoke  substantially  to  the  same  effect  as  the  former 
speaker.  He  was  listened  to  with  attention,  and  though  his 
language  was  very  simple  and  often  unhappy,  yet  his  words 
were  uttered  with  that  kind  of  solemnity  that  never  fails  to 
carry  conviction  to  the  mind.  He  had  no  sooner  withdrawn  to 
his  place,  than  another  hymn  followed ;  which  to  my  ear 
seemed  of  a  piece  with  the  preceding  ones.  It  was  loud,  faint, 
quiet  and  slow  by  turns,  and  the  change  was  very  sudden,  from 
one  pitch  to  another.  As  soon  as  it  was  concluded  they  all 
bowed  and  separated  in  such  disorder  that  I  thought  the 
exercises  over.  Not  a  man  went  near  a  woman,  though  they 
all  seemed  separating  in  confusion  and  wild  disorder.  They 


1850-1856 

Figure  264. — 1850 — Black  velvet  mantilla  trimmed  with  Maltese  lace,  worn 

in  Philadelphia.    Head  from  a  portrait. 
Figure  265.  — 1850 — Gentleman  in  walking  dress.    From  a  portrait  of  that 

date.    Brown  cloth  coat  and  pantaloons  of  brown  and  white  plaid. 
Figure  266. — 1853 — A  white  muslin  gown  embroidered  in  colours,  worn 

in  Philadelphia.    Head  from  a  contemporary  portrait. 
Figure  267. — 1855 — Gentleman  in  morning  dress  ;  black  coat,  buff  nankin 

pantaloons  and  white  waistcoat.    From  a  contemporary  print. 
Figure  268. — 1855 — A  gown  of  brown  silk  with  chine  stripes,  made  with  a 

basque  trimmed  with  fringe  to  match.    Worn  in  Philadelphia.  Bonnet 

from  a  plate  of  that  date.    Head  from  a  contemporary  portrait. 
Figure  269. — 1856 — Blue  poplin  gown  trimmed  with  black  velvet  ribbon. 

Bead  bag  of  crochet  work.    Worn  in  .Philadelphia.    Bonnet  and  head 

from  a  Daguerreotype. 
Figure  270. — 1855 — A  suit  of  black  broadcloth,  waistcoat  fastened  with 

oblong  mosaic  buttons.    "Worn  in  Philadelphia.    Head  from  a  con- 
temporary portrait. 
Figure  271. — 1856 — A  peignoir  of  old-rose  cashmere  with  Persian  trimming; 

worn  in  Philadelphia.    Head  from  a  contemporary  portrait. 


W55-268  1BS6-Z69  1857 -^TO  lass -ill 


HISTORIC  DRESS  IN  AMERICA 


339 


came  together  by  degrees  and  soon  arranged  themselves  into 
two  solid  squares,  the  women  composing  one  and  the  men  the 
other.  This  was  done  by  way  of  preparing  for  what  they  call 
the  labour-dance  ;  of  which  I  will  endeavour  to  give  some  idea. 

"  After  arranging  themselves  into  two  squares,  with  their 
faces  towards  the  singers,  who,  about  ten  in  number,  male  and 
female,  stood  in  one  row  at  the  farther  part  of  the  building, 
they  commenced  a  slow  dance,  keeping  time  with  the  singers 
not  with  their  voices,  but  their  hands,  and  feet.  They  danced 
two  steps  forward,  then  turned  suddenly,  as  before  ;  danced  two 
steps  forward  again,  and  so  on,  till  they  reached  the  point  from 
which  they  started.  This  they  repeated,  until  the  tune  ended, 
which  was  very  long.  As  soon  as  it  ended,  they  all  bounded 
and  had  a  short  breathing  spell,  standing  in  the  same  spot  and 
attitude  they  happened  to  be  in  when  the  dance  ended  ;  but 
yet,  though  one  would  have  supposed  them  nearly  exhausted 
when  they  stopped,  judging  alone  from  their  loud  breathing, 
the  chief  speaker  called  upon  them  to  labour  on.  '  Let  us 
on,  brothers  and  sisters,'  said  he,  throwing  his  hands  forward, 
suiting  the  action  to  the  word,  '  let  us  on,  and  take  the  kingdom 
of  heaven  by  violence ! '  They  rested  about  three  minutes 
after  which  they  commenced  the  dance  again,  though  with  a 
more  lively  step,  quicker  gesticulation,  and  a  brisker  voice  than 
before.  After  this,  they  scattered  in  confusion,  but  came  to- 
gether again  in  the  form  of  a  circle,  preparing  for  what  they 
call  the  labouring  march  ;  they  marched  round  the  room  in  a 
circle,  the  singers  being  in  the  centre,  pouring  forth  a  high  and 
low  keyed  hymn,  to  which  the  rest  kept  time,  as  they  went 
round,  with  a  quick  rise  and  fall  of  their  hands.  When  this 
was  over,  and  after  a  sufficient  pause,  they  began  a  quicker 
march,  which  they  went  through  after  the  same  fashion  as  the 
last.    After  about  five  minutes  of  deep  silence,  one  of  the 


?A0 


HISTORIC  DRESS  IN  AMERICA 


society  arose,  came  forward  into  the  space  between  the  males 
and  females,  and  addressed  those  whom  curiosity  had  brought 
there  to  witness  their  mode  of  worship.  He  spoke  with  fervour 
and  animation,  and  expatiated,  with  a  fluency  that  would  have 
shamed  many  public  speakers,  upon  the  happiness  attending 
their  mode  of  life  and  worship.  They  then  all  arose,  and 
joined  in  a  hymn  much  the  same  as  the  one  which  commenced 
their  exercises.  The  words  of  the  hymn  or  psalm  accompany- 
ing the  slow  labouring  march  were  these,  as  well  as  I  could 
catch  them,  now  and  then  : 

"  So  let  us  live  in  this  world  below, 
Serving  our  God  where'er  we  go, 
That  when  we  quit  this  frame  of  clay, 
"We  may  rise  to  glory's  eternal  day." 

We  believe  that  the  Shakers  have  never  had  an  established 
community  in  England,  although  Mr.  Meredith's  weird  poem, 
"  Jump  to  Glory  Jane,"  is  very  suggestive  of  the  vigorous  mode 
of  worship  we  have  described  above. 

"  A  Revelation  came  on  Jane, 
The  widow  of  a  labouring  swain  : 
And  first  her  body  trembled  sharp, 
Then  all  the  woman  was  a  harp 
With  winds  along  the  strings  ;  she  heard 
Though  there  was  neither  tone  nor  word. 

"  For  past  our  hearing  was  the  air, 
Beyond  our  speaking  what  it  bare, 
And  she  within  herself  had  sight 
Of  heaven  at  work  to  cleanse  outright, 
To  make  of  her  a  mansion  fit 
For  angel  hosts  inside  to  sit. 


HISTORIC  DRESS  IN  AMERICA 


341 


1 '  They  entered,  and  forthwith  entranced 
Her  body  braced,  her  members  danced  ; 
Surprisingly  the  woman  leapt ; 
And  countenance  composed  she  kept ; 
As  gossip  neighbours  in  the  lane 
Declared,  who  saw  and  pitied  Jane. 

"  These  knew  she  had  been  reading  books, 
The  which  was  witnessed  by  her  looks 
Of  late  :  she  had  a  mania 
For  mad  folk  in  America, 
And  said  for  sure  they  led  the  way, 
But  meat  and  beer  were  meant  to  stay. 

"  It  was  a  scene  when  man  and  maid, 
Abandoning  all  other  trade, 
And  careless  of  the  call  to  meais, 
"Went  jumping  at  the  woman's  heels» 
By  dozens  they  were  counted  soon, 
Without  a  sound  to  tell  their  tune." 


MEN'S  APPAREL 
1800-1870 


"  May  he  who  writes  a  skillful  tailor  seem, 
Aud  like  a  well  made  coat  his  present  theme  ; 
Tho'  close,  yet  easy,  decent  but  uot  dull, 
Short  but  not  scanty,  without  buckram  full." 

— Samuel  Focte. 


Men's  Apparel 

1800-1 810 


"  Be  not  the  first  by  -whom  the  new  is  tried 
Nor  yet  the  last  to  lay  the  old  aside." 

— Pope. 

CCORDING  to  Mr.  Ashton,  in  his  "  Dawn  of 
the  Nineteenth  Century,"  "  there  is  little  to 
chronicle  concerning  the  dress  of  the  men 
as  the  radical  changes  during  the  last  ten 
years  of  the  eighteenth  century  maintained 
popularity  for  the  first  years  of  the  nine- 
teenth." The  changes  from  season  to 
season  were  trivial,  it  is  true,  from  1800  to 
1810.  A  modification  of  the  Jean  Debry 
coat,  popular  in  Paris  after  the  Revolution 
and  of  which  a  copy  of  Gilray's  caricature  is  given  by  Ashton, 
was  worn  in  England  and  America,  the  shoulders  much  padded 
to  give  breadth  and  the  coat  buttoned  at  the  waist  to  make  the 
wearer  look  slender,  and  cut  short  enough  to  show  the  waist- 
coat which  was  usually  of  a  contrasting  colour.  Sometimes 
two  waistcoats  were  worn,  an  under  vest  of  a  bright  colour  show- 
ing above  and  below  a  drab  or  brown  outer  garment.  Hessian 
boots  were  worn  with  this  style  of  costume  (Figure  345)  and  a 
high  hat  which  in  the  early  years  of  the  century  was  usually 
very  large.    (See  Figure  361.)    Collars  were  worn  extravagantly 

high,  and  slippers,  according  to  Mr.  Ashton,  were  preferred  by 

347 


1820-1863 

Figure  272. — 1825 — Bounet  of  white  silk  gauze,  with  crown  pattern  of  wh:tr 
carnations  and  stripes  of  yellow  straw.  Trimmed  with  white  gauze 
ribbon  with  pale  yellow  and  green  figures.  Wetherill  collection, 
Memorial  Hall,  Philadelphia. 

Figure  273. — 1825-30— Leghorn  hat  trimmed  with  white  ribbon.  Piece  of 
the  brim  cut  away  at  the  back  and  drawn  up  to  the  crown  with  a  large 
bow.  Strings  and  rosette  over  right  ear.  Wetherill  collection,  Memorial 
Hall. 

Figure  274. — 1829 — Hat  of  sage  green  and  salmon  pink  taffeta  bound  and 

corded  with  pink  satin  ribbon.    Wetherill  collection,  Memorial  Hall. 
Figure  275. — 1820 — Bonnet  of  Tuscan  straw  trimmed  with  white  ribbon. 

Wetherill  collection,  Memorial  Hall. 
Figure  276. — 1830 — Bonnet  of  white  taffeta  trimmed  with  white  ribbon 

with  fringed  ends.    Wetherill  collection,  Memorial  Hall. 
Figure  277. — 1835 — Bonnet  of  chip,  brim  faced  with  pale  pink  silk  and 

trimmed  with  pink  ribbon  and  white  lace.    Spray  of  small  white 

flowers  on  top.    From  a  plate. 
Figure  278. — 1833 — Bonnet  of  white  point  (V esprit  over  white  silk.  Bibbon 

with  satin  spots  and  loop  edge.    Stiff  crown  ;  brim  made  over  slender 

wire  frame  and  lined  with  white  sarsenet.    Miss  Dutihl's  collection, 

Memorial  Hall,  Philadelphia. 
Figure  279. — 1838 — Bonnet  of  fancy  straw  trimmed  with  blue  ribbon. 

From  a  plate. 

Figure  280.— 1840— Quilted  silk  hood.  Wetherill  collection,  Memorial 
Hall. 

Figure  281. — 1839 — Leghorn  bonnet  trimmed  with  plaid  ribbon.  Wetherill 

collection,  Memorial  Hall. 
Figure  282. — 1860 — Bonnet  of  light  velvet  with  white  roses  and  green  velvet 

leaves  ;  frills  of  blond  lace  inside  the  face  ;  two  sets  of  strings — white 

ribbon  and  green  velvet.    Miss  Dutihl'  s  collection,  Memorial  Hall, 

Philadelphia. 

Figure  283. — 1863 — Bonnet  of  brown  horsehair  braid  ;  black  velvet  ribbon, 
white  tulle  and  red  poppies  inside  the  brim.  Miss  Dutihl's  collection. 
Memorial  Hall,  Philadelphia. 


IIISTOEIC  DRESS  IN  AMERICA 


351 


many  to  boots.  Gay  gallants  still  sported  short  trousers  or 
"  shorts/'  as  they  were  familiarly  called,  and  white  waistcoats 
displaying  ruffled  shirts  and  high  white  stocks.  Pantaloons, 
however,  were  a  new  fashion  from  Paris  in  1800,  and  were 
chronicled  in  contemporary  English  verse  : 

u  The  French  we  conquered  once 
~Now  give  us  laws  for  pantaloons." 

Trousers  were  not  worn  with  evening  dress,  however,  in  the  first 
quarter  of  the  century. 

The  "  Port  Folio  "  for  1801  tells  us  of  the  fashions  in  the 
United  States  : 

"  All  our  young  men  of  fashion  wear  frocks  of  dark  blue, 
dark  green,  or  dark  brown  cloth,  with  convex  metal  buttons, 
round  hats  with  broad  brims,  short  breeches  and  white  stock- 
ings, or  pantaloons  with  Hessian  boots." 

The  frock  coat  of  this  period  is  illustrated  in  Figure  57 
which  is  copied  from  a  portrait  by  Sully  painted  in  1807.  It 
was  fashionable  from  1800  to  1810,  as  well  as  the  hat  and  short 
breeches  for  dress  occasions  which  are  ■  shown  in  the  same 
figure.  The  "  Port  Folio  "  is  also  the  authority  for  the  follow- 
ing items  of  fashion  in  this  country  : 

"  Mixed  grey,  bottle-green,  Vandyke  brown,  and  Spanish  blue 
are  the  prevailing  colours  for  morning  coats,  which  are  made  in 
every  respect  the  same  as  the  dress  coats,  except  that  they  have 
gilt  basket  buttons,  sleeves  with  slits  and  three  buttons,  and 
pockets  in  the  plaits  of  the  skirts.  Waistcoats  are  made  of 
striped  marseilles,  and  light-coloured  double-milled  ca?simere 
pantaloons  are  worn  with  half-boots,  or  nankeen  trousers  and 
gaiters.  We  must  not  omit  noticing  in  this  place  an  ingenious 
article  just  invented,  called  Key's  travelling  waistcoat,  which 


352 


HISTORIC  DRESS  IN  AMERICA 


by  folding  answers  the  purpose  of  two  waistcoats.  It  may 
be  made  either  single  or  double-breasted,  and  of  any 
material." 

President  Jefferson  began  his  administration  with  an  effort 
to  set  aside  conventionality  in  dress  and  shocked  the  Federalist 
party  by  a  certainly  ill-timed  exhibition  of  his  democratic  ideas. 
We  are  told  by  an  eye-witness  of  his  first  inauguration,  March, 
1801,  that  "  he  made  no  preparation  for  the  ceremony  as  far  as 
his  appearance  was  concerned.  His  indifference  was  ostenta- 
tious and  evidently  intended  to  cause  comment.  He  wore  a 
blue  coat,  a  thick  drab-coloured  waistcoat  with  a  red  under- 
waistcoat  lapped  over  it,  green  velveteen  breeches  with  pearl 
buttons,  yarn  stockings,  and  slippers."  Another  contemporary 
says  Jefferson's  democratic  simplicity  was  affected.  "  It  was  part 
of  his  political  policy  to  dress  badly,  although  he  did  not  adopt 
it  until  he  was  elected  President.  While  Minister  to  France  he 
lived  in  great  elegance,  not  only  expending  his  entire  salary, 
but  drawing  on  his  private  income  to  maintain  an  appearance 
befitting  his  position.  While  a  member  of  Congress  and  Secre- 
tary of  State  in  Philadelphia,  he  occupied  a  beautiful  place  near 
Gray's  Ferry  outside  the  city.  He  was  passionately  fond  of  good 
horses  and  owned  five  beautifully  matched  bays,  four  to  draw 
the  carriage  designed  by  himself,  and  one  for  his  man,  Burwell, 
who  always  rode  behind.  Two  servants  rode  on  horseback 
each  guiding  a  pair,  for  he  never  trusted  a  driver  with  the  lines." 
Many  anecdotes  are  told  of  Mr.  Jefferson's  unceremonious  treat- 
ment of  the  ambassadors  from  foreign  countries  during  his 
eight  years  as  President  of  the  United  States,  but  there  has  been 
much  controversy  published  on  the  subject  and  it  is  difficult  to 
get  at  the  exact  truth.  The  well-known  portrait  of  Mr.  Jeffer- 
son reproduced  in  Figure  296  is  certainly  not  lacking  in  dignity 
nor  propriety  of  dress. 


HISTORIC  DRESS  IN  AMERICA 


353 


In  an  American  periodical  of  1802  appeared  the  following 
paragraph  under  the  heading  "  Parisian  Fashions  "  : 

"  The  young  men  still  wear  their  coats  very  short,  ex- 
cessively degage,  and  with  the  lapels  buttoned.  .  .  .  Each 
lapel  has  now  seven  buttons  instead  of  six.  The  three  cocked 
hat  is  strictly  and  exclusively  for  full  dress.  The  cockade  is 
subject  to  almost  daily  changes  in  the  combination  of  the  three 
colours.  The  cravat  is  no  longer  so  large.  A  great  many  wear 
frills.  They  wear  at  the  knee-bands  very  small  plain  gold 
buckles,  round  or  square,  with  rounded  corners  ;  and  in  their 
shoes  silver  buckles  of  the  same  shape  "  (Figure  52). 

The  "  Port  Folio  "  printed  this  ridiculous  satire  in  1802  : 

"  Recipe  to  Make  a  Modern  Beau 
"  Take  anything  .  .  .  put  it  into  a  pair  of  pantaloons, 
put  a  binding  on  the  top  of  the  pantaloons  (called  a  vest)  and 
attach  to  the  bosom  of  the  shirt  an  oval  glass  case  with  a  wig 
on  it,  pare  away  the  skirts  of  its  coat  to  the  width  of  a  hat- 
band. If  the  subject  is  doomed  to  pass  its  time  in  the  house,  it 
will  require  a  heavy  pair  of  round  toed  jack  boots,  with  a  tassel 
before  and  behind.  Lift  up  by  the  cape  of  the  coat,  pull  its 
hair  over  its  face,  lay  a  hat  on  its  forehead,  and  spectacles  on 
its  nose. 

"  N.  B.  Its  hands  must,  on  no  occasion,  be  suffered  to 
escape  from  the  pantaloon  pockets,  nor  the  spectacles  from 
its  nose." 

It  will  be  noticed  that  the  fashionable  high  collars  are  often 
spoken  of  as  capes  in  the  printed  descriptions  of  this  period. 

In  another  paper  we  find  under  "  Fashions  for  Sep- 
tember "  (1802)  : 

"  The  following  is  now  all  the  rage  with  the  fashionables  in 
London  : 


354 


HISTORIC  DRESS  IN  AMERICA 


"  Blue  coat  made  very  scant,  with  pockets  in  the  skirts ;  blue 
velvet  cape,  high  up  in  the  neck  ;  pantaloons  of  mix'd  broad- 
cloth made  very  loose,  with  pockets.  Suwarrow  boots  (all  the 
vogue)  and  black  hat  with  a  narrow  brim  !  " 

Of  this  new  fashion  in  boots,  which  were  made  without 
any  apparent  seam,  we  read  "  the  artist  who  has  discovered  the 
mode  of  kneading  the  leather  so  as  to  make  solid  boots, 
without  any  apparent  seam,  uses  for  the  purpose  a  glossy  gum, 
which  prevents  stains." 

Hats  were  extravagantly  large  in  1802,  and  the  shafts  of 
"  Mr.  Oldschool's  "  ridicule  are  .  aimed  at  them  in  the  following 
paragraph  : 

"  Our  High-street  loungers  sport  a  hat  of  an  enormous  cir- 
cumference. A  small  beau  is  so  overshadowed  by  one  of 
Tiffin's  best,  that  his  dimensions  to  any  thick  sight  are  invisible." 

The  fashionable  coat  is  the  next  target  for  his  wit : 

"  I  believe  it  is  remarked  in  '  A  Merry  Connoisseur  '  that  the 
winter  fashions  of  London  reach  this  country  in  sufficient  season 
to  be  in  full  bloom  at  midsummer.  Our  coats,  on  this  side  of 
the  Atlantic,  are  copied  from  the  London  model  generally  after 
the  original  has  become  quite  faded  at  home.  If  an  early  au- 
tumnal scheme  of  dress  can  be  of  any  use  now,  let  the  beau  of 
Philadelphia  copy  the  following,  taking  especial  care,  however, 
to  avoid  the  old  hat.  Gentlemen's  coats  are  very  short  and  loose, 
the  collars  are  merely  turned  over  ;  round,  concave  middle-sized 
buttons  of  yellow  metal  are  put  on  the  facings  at  each  side." 

A  curious  anecdote  concerning  silk  stockings,  which  were 
still  worn  with  knee-breeches  in  Washington,  in  1802,  is  told 
by  Rev.  Manasseh  Cutler  : 

"  On  Thursday  evening  about  ten,  Mr.  Dayton,  going  to  bed, 
pulled  off  a  pair  of  silk  stockings,  laid  his  stockings  on  his  slip- 
pers at  the  bedside ;  he  perceived  some  sparks  as  he  pulled  them 


HISTORIC  DRESS  IN  AMERICA 


355 


off.  In  the  morning  both  stockings  were  burnt  to  a  cinder, 
threads  appearing  to  lie  in  their  position  in  a  coil ;  slippers 
burnt  to  a  crisp ;  carpet  burnt  through  and  floor  to  a  coal,  so  as 
to  cause  the  resin  to  run.  Many  gentlemen  noted  the  sparking 
of  their  silk  stockings  as  they  went  to  bed.  I  wore  silk  stock- 
ings that  day,  but  did  not  notice  sparks." 

In  1803  coats  were  made  somewhat  broader  in  the  waist,  and 
cut  lower  in  the  neck,  and  the  collars  were  less  high.  Knee- 
breeches  were  still  in  favour  and  boots  with  high  tops.  High 
shirt  collars  were  worn  with  stocks,  and  beaver  hats  with  roll- 
ing brims.  Mr.  Ashton  mentions  an  advertisement  of  a  London 
firm  in  1803,  which  offered  "  to  make  a  gentleman's  old  hat  as 
good  as  it  was  when  new  ;  gentlemen  who  prefer  silk  hats  may 
have  them  silked  and  made  water-proof."  Late  in  1803  long 
coats  not  cutaway  came  into  fashion,  also  pantaloons  reaching 
to  the  ankle,  and  in  1804  coats  were  worn  much  longer  in  the 
waist  and  slightly  cutaway.  Ruffled  shirt  fronts  were  fashion- 
able and  low  cut  waistcoats.  High  close-fitting  boots  were  worn 
over  long  pantaloons  (Figure  360).  Hats  changed  a  little  in 
1804,  the  brims  drooped  back  and  front  and  were  rolled  slightly 
at  the  sides  (Figure  347).  It  became  the  fashion  in  this  year 
to  carry  very  short  canes  and  a  satirical  couplet  in  the  "  Port 
Folio  "  for  December,  1804.  proves  that  the  new  fashion  was  in 
vogue  in  America  also. 

"Short  Canes 

"  Two  bucks,  having  lost  their  bamboos  in  a  fray, 
Side  by  side  swagger' d  into  a  toy-shop  one  day, 
Each,  by  a  new  purchase  his  loss  to  repair — 
But,  lo  !  when  for  payment  our  heroes  prepare, 
All  the  cash  in  their  pockets,  together  combin'd, 
For  the  purchase  of  one  scarce  sufficient  they  find. 
In  common  they  buy  it ;  and,  nice  to  a  hair, 
In  two  they  divide  it,  and  each  takes  his  share. 


1800-1860 

Figure  284. — 1835-50— Quaker  hat  of  black  silk  beaver.  Memorial  Hall, 
Philadelphia. 

Figure  285. — 1857 — Shaker  girl  in  costume.    From  a  print. 

Figure  286. — 1860 — A  Quaker  bonnet  of  brown  satin,  showing  a  ruffled  cap 

of  sheer  lawn  underneath. 
Figure  287. — 1830 — Grey  beaver  hat  with  a  broad  brim,  worn  by  a  Quaker 

gentleman  in  Philadelphia. 
Figure  288. — 1800 — Pencil  sketch  of  Mary  Howitt  as  a  child  in  Quaker 

costume. 

Figure  289. — 1860 — Quaker  dress  of  brown  satin  with  white  kerchief 
crossed  in  front  and  fastened  uuder  the  belt.  White  silk  shawl  and  cap 
of  sheer  lawn.  Typical  costume  of  a  Quaker  lady  for  many  years. 
This  dress  was  worn  in  Philadelphia  in  1860. 

Figure  290. — 1857 — Costume  of  a  young  Shaker.    From  an  old  print. 

Figure  291. — 1840— Silk  rain -cover  for  a  bonnet.    Wetkerill  collection. 

Figure  292.— 1857— Outdoor  dress  of  a  Shaker  girl.    From  an  old  print. 

Figure  293.— 1830— Quaker  bonnet  of  white  silk.  Memorial  Hall,  Phila- 
delphia. 


HISTORIC  DRESS  IN"  AMERICA 


359 


Our  beaux  economic,  improving  the  hint, 
The  length  of  their  canes  have  determined  to  stint : 
And  when  they  would  buy,  a  whole  company  splice 
Their  pence  and  their  farthiugs,  to  make  up  the  price, 
Hence,  view  the  smart  beau,  and  you  soon  ascertain 
The  depth  of  his  purse,  by  the  length  of  his  cane." 

Coats  in  1805  were  long  and  not  cutaway,  with  tails  full  in 
the  back.  Waistcoats  were  cut  high  and  single-breasted,  and 
the  long  close-fitting  trousers  were  shaped  over  the  instep  like 
gaiters  and  fastened  under  the  boot  with  a  strap.  Long  gaiters 
were  also  in  fashion  reaching  as  high  as  the  knee.  The  newest 
hats  were  very  big,  having  wide  brims  and  high  crowns.  Top- 
coats with  three  capes  were  very  generally  worn. 

Many  varieties  of  dress  must  have  been  observed  in  Wash- 
ington in  the  first  decade  of  the  nineteenth  century,  when  the 
foreign  legations  displayed  so  many  rich  colours  and  such  a 
wealth  of  embroidery.  A  contemporary  makes  the  following 
mention  of  a  foreign  minister  at  the  President's  levee  in  1805  : 

"  We  went  at  twelve.  The  French  Minister,  General  Tau- 
reau,  had  been  in,  and  was  returning.  We  met  him  at  the  door, 
covered  with  lace  almost  from  head  to  foot,  and  very  much 
powdered.  Walked  with  his  hat  off,  though  it  was  rather 
misty  ;  his  Secretary,  one  Aide,  and  one  other  with  him.  When 
we  went  in  the  number  was  small,  but  soon  increased,  until  the 
Levee  room,  which  is  large,  was  nearly  full.  A  large  number 
of  ladies,  Heads  of  Departments,  Foreign  Ministers  and  Consuls 
and  the  greater  part  of  both  Houses  of  Congress.  The  British 
Minister  was  in  a  plain  dress,  but  superb  carriage." 

But  even  a  civilian's  dress  could  be  made  gay  with  one  of 
the  fanciful  waistcoats  in  vogue.  At  the  Historical  Society  in 
Philadelphia  is  preserved  a  quilted  vest  of  bright  gold-coloured 
satin  which  was  once  worn  by  Mr.  George  Logan  of  Stenton, 


360 


HISTOKIC  DEESS  IN  AMERICA 


a  Quaker  gentleman  of  some  renown.  It  is  wadded  slightly 
and  lined  with  heavy  linen  probably  with  a  view  to  warmth, 
but  the  edge  of  the  brilliant  satin  evidently  showed  above  an 
outer  waistcoat  of  a  sombre  tint.  Waistcoats  were  apparently 
the  most  important  article  of  masculine  costume  at  that  time, 
and  it  is  amusing  to  read  that  the  great  English  statesman,  Fox, 
and  Lord  Carlisle  "  made  a  journey  from  Paris  to  Lyons  for  the 
sole  purpose  of  procuring  something  new  in  waistcoats,  and 
talked  of  nothing  else  by  the  way." 

In  1806  we  read  of  fashionable  full  dress  coats  cutaway  and 
made  with  small  rolling  collars  and  revers,  the  tails  reaching 
to  the  knee.  With  these  coats  very  short  waistcoats  were  worn, 
and  knee-breeches  fastened  with  small  buttons  on  the  outside  of 
the  leg,  black  pumps  and  stockings  of  white  silk,  ruffled  shirts 
and  fine  cambric  stocks.  A  cocked  hat  or  a  chapeau  bras  com- 
pleted this  full  dress  costume,  which  is  illustrated  in  Figure  57. 
The  chapeau  bras,  which  is  mentioned  in  many  descriptions  of 
court  dress,  is  shown  in  Figure  340  from  a  print  of  1807. 

A  walking  suit  of  that  time  consisted  usually  of  a  blue  coat 
with  black  buttons,  buff  breeches  buttoned  a  little  below  the 
knee,  over  which  boots  with  turned-down  tops  of  buff  kid  were 
worn.  High  stock  of  white  linen  and  high  hat  of  beaver  as 
shown  in  Figure  361. 

From  "  Follies  and  Fashions  of  our  Grandfathers  "  we  tran- 
scribe the  following  : 

"  General  Observations  on  Gentlemen's  Dress  for  1807 
"  The  general  mourning  ordered  on  account  of  the  death  of 
the  venerable  Duke  of  Brunswick  has  prevented  much  altera- 
tion in  gentlemen's  dress  ;  evening  parties  in  the  fashionable 
world  have  been  a  mere  assemblage  of  sables  ;  and  as  many 
gentlemen's  wardrobes  furnished  them  with  what  was  deemed 


HISTORIC  DRESS  IN  AMERICA 


361 


sufficient  for  the  purpose,  the  inventors  of  fashion  found  them- 
selves completely  cramped  and  disappointed  in  the  great  field 
of  taste."  * 

The  short  period  of  court  mourning  over,  a  great  variety  of 
costumes  were  announced  as  follows : 

"  Morning  coats  of  dark  brown  mixtures,  or  dark  green  mix- 
tures, made  either  according  to  the  same  style  as  the  evening 
coats,  or  single  breasted  and  rather  short,  are  still  fashionable. 
These  we  observe  to  have  generally  a  moderate-sized  metal 
plated  button  ;  and  though  collars  of  the  same  cloth  are  much 
used,  a  black  velvet  collar  is  considered  as  carrying  a  greater 
degree  of  style.  For  morning  wear :  Drab-coloured  cloth  coat, 
single-breasted,  with  pantaloons  to  match,  which  for  the  sake 
of  avoiding  the  weight  or  incumbrance  of  boots,  are  made  with 
buttoned  gaiters  attached  ;  with  the  addition  of  a  striped  waist- 
coat. This  costume  has  undoubtedly  a  very  genteel  appear- 
ance." 

"  A  single-breasted  coat  of  a  dark  green  or  green  "  mixture 
with  a  collar  of  the  same  cloth,  and  plated  buttons ;  light 
coloured  striped  waistcoat  made  single-breasted,  and  light  drab- 
coloured  or  leather  breeches,  with  brown  top  boots  "  is  a  cos- 
tume suggested  for  riding  or  walking." 

We  read  now  for  the  first  time  of  the  "  parsley  mixture, 
which  is  beginning  to  usurp  popular  preference  ;  coats  of  this 
colour  are  worn  single-breasted  with  collars  of  the  same  cloth, 
and  almost  universally  plated  buttons ;  they  are  shorter  than 
the  evening  coats,  made  without  pocket  flaps,  and  rendered  as 
light  as  possible."  Quilted  waistcoats  are  also  mentioned 
"printed  in  stripes,  single-breasted  and  without  binding." 
"  Light  coloured  kerseymere  pantaloons  or  breeches  and 
gaiters,"  and  "  white  or   nankin   trousers  with   or  without 

*  Follies  and  Fashions  of  Our  Grandfathers,  by  Andrew  W.  Tuer. 


3G2 


HISTORIC  DRESS  IX  AMERICA 


gaiters  "  are  fashionable  details  announced  for  1807,  but  worn 
for  several  years  afterwards. 

"  We  have  noticed  many  gentlemen  in  plain  buff  kersey- 
mere waistcoats  of  a  very  pale  colour,  which  certainly  have 
a  neat  appearance  ;  others  of  a  sort  of  pearl  colour,  and  also 
some  of  scarlet  kerseymere,  which  after  being  rejected  for 
several  years  seem  to  be  again  coming  into  notice  ;  but  as  they 
do  not  correspond  with  the  coats  usually  worn,  nor  afford  a 
pleasant  contrast,  they  are  not  likely  to  become  by  any  means 
general ;  indeed,  blue  or  dark  brown  or  corbeau  colour  coats 
are  the  only  ones  that  can  well  be  worn  with  a  scarlet  waist- 
coat. Brown  top  boots  seem  to  be  more  worn  than  they  have 
been  for  some  time  past,  and  with  kerseymere  breeches,  in 
preference  to  leather.  We  have  also  observed  that  many  gentle- 
men in  their  morning  walks  have  attempted  to  introduce  a 
sort  of  shooting  dress,  a  short  coat  of  any  light  colour,  and  with 
drab  colour  cloth  or  kerseymere  gaiters  to  come  up  to  the 
knees ;  but,  however  well  such  a  dress  may  suit  a  watering 
place  or  a  walk  over  the  grounds  of  an  estate,  we  do  not  think 
it  adapted  to  the  promenade  of  Bond  Street.  There  is  also  a 
new  article  in  the  waistcoat  fashion,  which  is  a  sort  of  silky 
shag  well  adapted  to  the  season  ;  and  has  a  good  appearance 
in  riding  dress,  but  we  think  does  not  seem  perfectly  in  char- 
acter, unless  accompanied  with  brown  top  boots  and  a  riding 
whip." 

For  September,  1807,  we  read  :  "  Morning  coats  of  various 
mixtures  are  worn  ;  the  parsley  mixture  is  decidedly  the  most 
fashionable,  and  that  made  single-breasted,  with  a  collar  of  the 
same  cloth,  large  size  plated  buttons,  and  without  pocket  flaps. 
Striped  marseilles  waistcoats  single-breasted,  or  plain  buff 
kerseymere  waistcoats,  of  a  pale  colour,  single-breasted,  but 
not  bound.    Drab  colour  kerseymere  pantaloons  with  Hessian 


HISTORIC  DRESS  IN  AMERICA 


boots,  or  India  nankin  trousers  and  gaiters.  Dark  olive  cloth 
mixtures  with  covered  buttons  vie  with  dark  forest  green  in 
favour,  but  blue  cloth  with  gilt  buttons  is  likely  to  retain 
popularity.  White  marseilles  waistcoats,  single-breasted,  and 
light  drab  cloth  or  nankin  breeches  are  still  considered  the 
most  genteel." 

Mixed  cloths  apparently  gained  in  favour,  for  another 
morning  dress  for  gentlemen  of  this  material  is  given  :  "  A 
coat,  single-breasted,  cut  off  in  the  front,  and  made  of  pepper 
and  salt  mixture,  with  covered  or  plated  buttons,  and  collar  of 
the  same  cloth  ;  the  skirt  rather  shorter  than  the  dress  coats, 
and  the  pockets  in  the  plaits  behind.  Waistcoats  of  printed 
marseilles  made  single-breasted  are  most  popular  and  are  made 
•without  any  binding.  Light  drab  kerseymere  pantaloons  are 
still  worn  ;  as  also  drab  kerseymere  breeches  with  gilt  buttons 
and  brown  top  boots.  Nankin  pantaloons  and  trousers  are  be- 
coming very  prevalent  as  well  as  nankin  gaiters." 

In  November  of  the  same  year,  we  are  told  :  "  Morning  coats 
are  still  popular  of  greenish-olive  or  mixtures,  and  are  worn 
both  double-breasted  and  single  ;  they  are  seen  with  plain  plated 
buttons  and  collars  of  the  same  cloth,  and  made  without  pocket 
flaps,  the  pocket  being  put  in  the  plaits  behind.  Striped  toilinet 
waistcoats  of  clear  distinct  stripes,  bound  with  silk  binding. 
Drab  kerseymere  breeches  to  come  down  over  the  knee  with 
gilt  buttons,  and  brown  top  boots,  or  pantaloons  of  the  same 
colour  and  Hussar  boots.  The  great  coats  are  generally  made 
of  olive  browns,  single-breasted,  with  collars  of  the  same  cloth, 
and  covered  buttons  ;  the  skirts  lined  with  silk  of  the  same 
colour.  Many  gentlemen  who  wish  to  appear  in  the  height  of 
the  fashion  have  the  front  lined  with  silk,  and  if  the  weather 
permits  the  coat  to  be  worn  open,  this  has  certainly  a  very 
dashing  appearance." 


1800-1860 

Figure  294. — 1800 — Natural  hair  and  high  stock.    Portrait  of  Charles 

Carroll,  by  St.  Memin. 
Figure  295. — 1800 — Powdered  hair  and  queue.    Portrait  of  Mr.  Brumaud, 

by  St.  Meinin. 

Figure  296. — 1801 — Natural  hair  and  ruffled  shirt.    Portrait  of  Thomas 

Jefferson. 

Figure  297. — 1802 — Powdered  hair  and  queue.    Portrait  of  Dr.  Push,  by 
St.  Memin. 

Figure  298. — 1802 — Powdered  hair  and  queue.    Portrait  of  DuBarry,  by 
St.  Memin. 

Figure  299. — 1804 — Natural  hair  and  side  whiskers.    Portrait  of  Nathaniel 

Williams,  by  St.  Memin. 
Figure  300. — 1809 — Natural  hair  and  clerical  stock.    Portrait  of  Eev.  Dr. 

Simous,  by  St.  Memin. 
Figure  301.— 1809— Hair  in  queue.    Portrait  of  James  Madison. 
Figure  302. — 1821 — Natural  hair  parted  in  the  middle.    Portrait  of  James 

Monroe. 

Figure  303. — 1845 — White  hair  and  judge's  robe.    Portrait  of  Judge  Story. 
Figure  304.— 1810— Black  stock  and  standing  collar.    Portrait  of  Franklin 
Pierce. 

Figure  305.— 1860 — Low  white  stock  and  high  collar.    Portrait  of  James 
Buchanan. 


HISTORIC  DRESS  IN"  AMERICA 


367 


The  colours  and  combinations  for  evening  dress  for  gentle- 
men in  1807  long  remained  in  fashion,  as  will  be  seen  from  the 
illustrations  given  for  the  first  half  of  the  century. 

"  Dark  blues  with  flat  gilt  buttons,  with  collars  of  the  same, 
or  of  black  velvet,  according  to  the  fancy  of  the  wearer.  The 
buttons  on  green  coats  are  guided  by  fancy.  White  waistcoats 
are  universal.  Breeches  are  generally  of  nankin,  or  light  drabs 
and  pearl-coloured  kerseymeres." 

There  were  many  changes  in  cut  and  design  from  time  to 
time.  An  evening  suit  is  described  in  1809  consisting  of  a 
"  double  breasted  dark  blue  coat  with  large  yellow  double  gilt 
buttons  ;  white  marseilles  waistcoat ;  light  brown  kerseymere 
breeches,  with  strings  to  the  knees  ;  white  silk  stockings  ;  shoes 
with  buckles,"  and  at  that  date  we  learn  "the  collar  though  made 
to  rise  well  up  in  the  neck,  is,  however,  not  so  extremely  high  as 
it  was  formerly.  It  is  now  made  to  admit  of  a  small  portion  of 
the  neck  cloth  being  seen  above  it ;  it  then  descends  gradually 
on  the  sides  of  the  neck,  so  as  to  fall  open  and  rather  low  in 
front ;  the  waistcoats  are  worn  both  double  and  single-breasted 
with  collars  of  moderate  heights,  and  as  they  are  buttoned  only 
half  way  up,  and  only  two  or  three  of  the  lower  buttons  of  the 
coat  fastened,  they  show  the  drapery  of  the  shirt  to  much  ad- 
vantage. The  breeches  come  tolerably  high  up  on  the  hip,  and 
end  two  or  three  inches  below  the  bend  of  the  knee,  where  they 
sit  perfectly  close.  We  notice  that  waistcoats  and  small  clothes 
of  kerseymere  are  much  more  fashionable  than  silk,  which  has 
been  gradually  declining  in  favour  for  many  years,  and  satin 
which  was  considered  essential  to  complete  the  dress  of  a  gentle- 
man, a  few  years  back,  has  gone  out  utterly  ;  a  pair  of  satin 
breeches  would  attract  the  observation  of  every  beholder  almost 
as  much  as  a  maroon  coloured  coat." 

The  following  paragraph  appeared  in  a  fashion  book  of  1808: 


368 


HISTOEIC  DRESS  IN  AMERICA 


"  Evening  dress  is  invariably  black.  The  coats  have  con- 
stantly collars  of  the  same  cloth,  and  covered  buttons  :  black 
kerseymere  waistcoat  and  breeches  are  considered  genteel :  black 
silk  stockings  are  necessary  in  dress  parties."  Research  con- 
vinces us,  however,  that  if  black  was  ever  recognized  as  the 
fashionable  colour  for  evening  costume  at  that  period,  it  had 
but  a  brief  popularity,  light  trousers  and  blue  coats  gaining 
ascendency  again  in  the  course  of  the  same  year. 

James  Madison  succeeded  President  Jefferson  in  1809.  He 
was  not  only  an  intimate  friend  of  his  predecessor,  but  to  some 
extent  his  disciple,  and  represented  the  Whigs  in  opposition  to 
the  Federalists.  It  was  said  that  the  barbers  were  all  adherents 
of  the  latter  party  because  the  leaders  of  the  Federalists  wore 
long  queues  and  powder  and  thus  gave  them  constant  employ- 
ment, whereas  the  Whigs  wore  short  hair  or  small  queues  tied 
carelessly  with  a  ribbon  (Figure  301).  The  following  an- 
ecdote is  told  by  Mrs.  Wilder  Goodwin  in  her  "  Life  of  Dolly 
Madison  "  : 

"  On  the  nomination  of  Madison,  a  barber  burst  out :  '  The 
country  is  doomed  ;  what  Presidents  we  might  have,  sir  !  Just 
look  at  Dagget  of  Connecticut,  or  Stockton  of  New  Jersey  !  what 
queues  they  have  got,  sir !  as  big  as  your  fist  and  powdered 
every  day,  sir,  like  the  real  gentlemen  they  are.  Such  men,  sir, 
would  confer  dignity  upon  the  chief  magistracy  ;  but  this  little 
Jim  Madison,  with  a  queue  no  bigger  than  a  pipe-stem  !  Sir, 
it  is  enough  to  make  a  man  forswear  his  country.'  " 

Judging  from  the  numerous  portraits  painted  in  1809,  we 
doubt  if  the  barbers  had  a  good  business  outlook  in  any  country, 
for  fashion  then  decreed  short  hair  and  no  powder,  and  al- 
though a  few  elderly  beaux  appear  to  have  worn  both  until 
1810,  they  illustrated  the  exception  rather  than  the  rule.  An- 
other contemporary  relates  that  President  Madison  "  never  al- 


HISTORIC  DRESS  IN  AMERICA 


309 


tered  liis  style  of  dress.  He  always  wore  a  plain  black  cloth 
coat  and  knee-breeches  with  buckles,  the  hair  powdered  and 
worn  in  a  queue  behind  ;  the  daily  task  of  dressing  it  devolved 
upon  his  wife  who  did  not  think  his  body  servant  capable  of 
doing  it  justice."  * 

This  practice  probably  gave  fresh  displeasure  to  the  barbers, 
but  it  is  not  a  little  surprising  to  read  of  the  use  of  powder, 
which  actually  went  out  of  fashion  in  1794,  and  according  to 
several  authorities  was  regarded  almost  as  a  badge  of  the 
Federalists  in  1809.  The  following  account  of  Madison's 
appearance  at  his  first  inauguration  is  from  a  contemporary 
pen  : 

"  Arrived  at  the  Capitol,  Madison  descended  from  his  car- 
riage and  entered  the  Hall  of  Representatives,  where,  until  the 
inauguration  of  Monroe,  the  newly  elected  President  took  the 
oath  of  office.  Madison  was  attended  by  the  Attorney-General 
and  other  Cabinet  officers.  One  who  saw  him  describes  him  as 
looking  unusually  well,  the  excitement  of  the  occasion  lending 
colour  to  his  pale  studious  face,  and  dignity  to  his  small  slender 
figure.  He  was  dressed  in  a  suit  of  clothes  wholly  of  American 
manufacture,  made  of  the  wool  from  merino  sheep  bred  and 
reared  in  this  country.  His  coat  was  from  the  manufactory  of 
Colonel  Humphreys,  and  his  waistcoat  and  small  clothes  from 
that  of  Chancellor  Livingston,  both  being  gifts  offered  in  token 
of  respect  by  those  gentlemen.  At  twelve  o'clock,  with  marked 
dignity  and  composure  of  manner,  he  took  the  oath  of  office, 
administered  by  Chief-Justice  Marshall  and,  amid  deafening 
cheers,  as  President  of  the  United  States  began  his  inaugural 
address."  f 

No  history  of  dress  in  the  nineteenth  century  would  be  com- 
plete without  mention  of  the  celebrated  "  Beau  Brummell." 

*  Mrs.  Seaton's  Letters.  t  First  Forty  Years  of  Washington  Society. 


370 


HISTORIC  DRESS  IN  AMERICA 


"  In  Brumraell's  day  of  buckle  shoes, 
Starch  cravats  and  roll  collars, 
They'd  fight  and  war  and  bet  and  lose, 
Like  gentlemen  and  scholars. ' '  * 

His  figure,  which  ho  always  dressed  so  carefully,  is  described  by 
Captain  Jesse  as  unusually  well  proportioned.  "  Brummell,"  he 
says,  "  was  about  the  height  of  the  Apollo,"  a  rather  startling 
comparison,  for  it  is  as  difficult  to  think  of  one  in  connection 
with  clothes  as  of  the  other  without  them,  "and  the  just  pro- 
portions of  his  form  were  remarkable;  his  hand  was  particularly 
well  shaped.  His  face  was  rather  long  and  his  complexion  fair  ; 
his  whiskers  inclined  to  sandy  and  hair  light  brown.  His 
features  were  neither  plain  nor  handsome,  but  his  head  was  well 
shaped,  the  forehead  being  unusually  high." 

According  to  another  authority,  the  early  part  of  his  career 
was  signalized  by  the  famous  pair  of  gloves  to  insure  the  per- 
fection of  which  two  glovers  were  employed,  "  one  charged  with 
the  working  of  the  thumbs  and  the  other  the  fingers  and  the 
rest  of  the  hands,  and  three  coiffeurs  were  engaged  to  dress  his 
hair,  one  for  the  temples,  one  for  the  front,  and  the  third  for  his 
occiput.  His  boots  were  cires  auvin  de  champagne,  and  his  ties 
designed  by  a  portrait  painter  of  note." 

"But  my  beautiful  taste  (as  indeed  you  will  guess) 
Is  manifest  most  in  my  toilet  and  dress. 
My  neck-cloth,  of  course,  forms  my  principal  care, 
For  by  that  we  criterions  of  elegance  swear, 
And  costs  me  each  morning  some  hours  of  flurry, 
To  make  it  appear  to  be  tied  in  a  hurry  ; 
My  top-boots — those  unerring  marks  of  a  blade — 
With  champagne  are  polished,  and  peach  marmalade. 
And  a  violet  coat,  closely  copied  from  Byng  ; 
And  a  cluster  of  seals  and  a  large  diamond  ring  ; 
And  trosiemes  of  buckskin,  bewitchingly  large, 
Give  the  finishing  strokes  to  the  parf ait  ouvrage."  f 

*  London  Lyrics.  f  Pursuit  of  Fashion. 


t 


HISTOKIC  DEESS  IN"  AMEEICA 


371 


Bruuiinell  is  accredited  with  the  revival  of  taste  in  dress 
among  gentlemen  which  had  been  conspicuously  lacking  at  the 
end  of  the  eighteenth  century.  His  first  innovation  was  in  the 
arrangement  of  neck-cloths.  "  His  collars  were  always  fixed  to 
his  shirt  and  so  large  that  before  being  folded  down  they  com- 
pletely hid  his  face  and  head  ;  the  neck-cloth  was  almost  a  foot 
in  height ;  the  collar  was  fastened  down  to  its  proper  size  and 
Brummell,  standing  before  the  glass,  by  the  gradual  declen- 
sion of  his  lower  jaw  creased  the  cravat  to  reasonable  dimen- 
sions." 

"All  is  unprofitable,  flat, 
And  stale,  without  a  smart  Cravat 
Muslined  enough  to  hold  its  starch — 
That  last  keystone  of  Fashion's  arch  ! " 

In  his  dress  he  was  distinguished  for  great  neatness  and  per- 
fection of  fit,  but  never  for  singularity  or  striking  combinations. 

For  morning  wear  he  appeared  in  Hessians  and  pantaloons, 
or  top-boots  and  buckskins,  with  a  blue  coat  and  a  light  or  buff 
coloured  waistcoat,  so  that  his  ordinary  costume  was  similar  to 
that  of  any  other  gentleman  in  Europe  or  America  ;  but,  we  are 
told  by  contemporary  authority,  it  fitted  "  to  admiration  the 
best  figure  in  England."  His  favourite  evening  dress  was  a 
blue  coat  and  white  waistcoat;  black  pantaloons,  which  fastened 
tight  to  the  ankle  ;  striped  silk  stockings  and  an  opera  hat. 
"  He  was  always  carefully  dressed,  but  never  the  slave  of 
fashion."  We  need  not  follow  the  checkered  fortunes  of  this, 
for  many  years,  cynosure  of  style,  to  their  pathetic  ending  at 
Caen  in  1840.  The  biographer  already  quoted  says,  "  Brummell 
and  Bonaparte,  who  had  hitherto  divided  the  attention  of  the 
world,  fell  together."  A  portrait  of  Beau  Brummell  (about  1804) 
is  given  in  Figure  360. 


1828-1850 


Figure  306. — 1828 — Walking  costume.    From  a  plate. 
Figure  307. — 1830 — Walking  costume.    From  a  plate. 
Figure  308. — 1837 — Walking  costume,  showing  Aspic  cloak.  From 
plate. 

Figure  309. — 1839 — Two  walking  costumes.    From  a  plate. 

Figure  310. — 1840-50 — Three  costumes  of  this  period.    From  a  plate. 

Figure  311. — 1845-50 — Three  costumes  of  this  period.    From  a  plate. 


HISTORIC  DRESS  IN  AMERICA 


375 


In  the  early  part  of  the  nineteenth  century,  Doctors  of  Med- 
icine were  distinguished  by  long  black  coats  and  gold-headed 
canes.  Edmund  Yates  makes  the  following  statement  on  this 
subject  in  his  "  Reminiscences  "  :  "  There  are  Brightonians  yet 
alive  who  talk  to  me  of  my  uncle,  Dr.  Yates,  remembering  him 
with  his  white  hair,  snowy  shirt  frill,  Hessian  boots,  or  black 
gaiters,  long  black  coat  and  gold-headed  cane ;  a  man  of  im- 
portance in  the  town,  physician  to  the  Sussex  County  Hospital, 
etc.,  etc."  *  Mr.  Ashton  declares  also  that  during  the  Regency 
(1810-1819)  "  Doctors  still  clung  to  their  wigs." 

Shirts  trimmed  down  the  front  with  ruffles  of  the  finest 
linen  cambric,  finished  with  minute  rolled  hems,  were  worn  by 
young  and  old.  The  following  epigram  was  printed  about  1808, 
in  "  La  Belle  Assemblee  "  : 

"Shirts  and  Shifts 
"Old  Musty  had  married  a  modish  young  flirt, 
"Who,  calling  one  holiday  morn  for  her  shirt, 
'  "Why,  how  now,'  quoth  Musty,  '  what  say  you,'  quoth  he, 
'  What,  do  you  wear  a  shirt,  Moll  ? ' — '  Be  sure,  Sir,'  quoth  she, 
'  All  women  wear  shirts ' — '  Nay,'  quoth  he,  '  then  I  trow 
What  has  long  been  a  riddle  is  plain  enough  now ; 
For  when  women  wear  shirts,  it  can  lack  no  great  gifts 
To  discern  why  their  husbands  are  put  to  their  shifts.'  " 

Marvels  of  needlework  and  feminine  patience  were  the  shirts 
of  the  first  half  of  the  nineteenth  century,  all  made  by  hand,  of 
course,  and  with  innumerable  three-cornered  gussets  put  in  to 
strengthen  the  seams,  and  with  ruffles  of  finest  linen  cambric. 
Let  us  hope  they  were  appreciated  by  the  lords  of  creation  who 
wore  them.  In  the  letters  of  Miss  Southgate,  the  writer  speaks 
of  completing  a  dozen  shirts  for  her  father  in  1812.  A  picture 
of  a  shirt  of  1812  and  one  of  1830  are  given  in  Figures  337  and 

*  Reminiscences  of  Fifty  Years. 


376 


HISTORIC  DRESS  IN  AMERICA 


363.  Happily  this  painful  episode  in  the  history  of  dress  is 
cast  into  oblivion  by  the  universal  use  of  the  sewing-machine, 
but  the  pathetic  verses  in  the  "  Song  of  the  Shirt  "  were  founded 
on  the  true  story  of  many  an  overworked  sempstress  in  the  first 
half  of  the  nineteenth  century  : 

"  Oh,  men  with  sisters  dear! 

Oh,  men  with  mothers  and  wives, 
It  is  not  linen  you're  wearing  out 
But  human  creatures'  lives  !"  * 

The  following  amusing  advertisements  appeared  in  "  La 
Belle  Assemblee  "  for  1809  : 

"  Patent  Travelling  Hair  Caps. — Perfectly  unique. — This 
very  useful  Invention  is  entirely  new,  and  particularly  well 
adapted  for  Officers  in  the  Army  and  Navy,  and  Travellers  in 
general,  who  are  obliged  to  wear  either  a  Welsh  Wig  or  Night- 
cap, which,  from  their  unhandsome  or  awkward  appearance, 
persons  are  under  the  necessity  of  throwing  off  when  alighting 
from  the  carriage,  etc. 

"  The  traveller's  hair  cap,  now  recommended  to  the  attention 
of  the  Public,  possesses  every  comfort  of  the  former,  with  the 
appearance  of  a  curled  head  of  hair,  and,  from  its  peculiar  elas- 
ticity, sits  perfectly  close  to  the  head  without  any  sort  of  springs 
whatever,  and  cannot  be  put  out  of  order.  The  Hair  Caps  are 
equally  convenient  for  the  Ladies.  They  may  be  had  of  the 
Inventors,  Robinson  and  Holmes,  No.  1,  Essex-street,  Strand, 
Peruke-Makers  to  their  Royal  Highnesses  the  Prince  of  Wales, 
Duke  of  Clarence,  and  to  the  Theatre  Royal,  Covent  Garden. 
Price  one  Guinea  each.  Considerable  allowance  made  to  Re- 
tailers.   Sailors  and  Travellers  by  Sea,  will  find  incredible  ad- 

*  Hood's  Song  of  the  Shirt.    First  published  in  Punch,  1843. 


HISTORIC  DRESS  IN  AMERICA 


377 


vantage  from  the  use  of  the  Hair  Caps  ;  and  Judges  and  Gentle- 
men of  the  Bar. 

"  Head-dresses,  by  the  King's  Royal  Letters  Patent,  lately 
granted  for  a  recent  discovery  in  the  art  of  making  Head-dresses, 
etc.,  similar  to  nature,  being  so  ingeniously  wrought  as  to 
imitate  the  skin  of  the  head  and  the  hair  as  if  implanted 
therein. 

"  Sold  only  by  Vickery,  No.  6,  Tavistock-street,  Co  vent 
Garden." 


Men's  Apparel 

18 10-1830 


"  And  he  the  hero  of  the  night  was  there, 
In  breeches  of  light  drab,  and  coat  of  blue." 

N  the  second  and  third  decades  of  the  nine- 
teenth century,  we  notice  that  "  coats  of 
blue  "  were  still  the  favoured  fashion  for 
both  full  dress  and  street  costume.  In  1810 
the  tails  of  coats  were  rather  shorter  than 
in  the  preceding  year,  and  "  did  not  come 
lower  than  within  four  inches  of  the  knee," 
according  to  an  acknowledged  authority 
on  the  subject,  "  The  Repository  of  Arts." 
Coats  were  made,  we  gather  from  the  same  source,  with  long 
lappels  ending  on  a  line  with  the  hip  buttons.  The  waists  were 
longer  too,  and  the  collars,  which  were  cut  very  high,  were 
slightly  padded  to  make  them  fit  smoothly  and  were  set  back 
about  two  inches  from  the  neck.  Buttons  of  gilt  or  silver  were 
worn  on  both  dress  and  morning  coats.  Sleeves  were  made 
very  long.  The  full  dress  coat  had  round  cuffs  without  buttons, 
and  pockets  with  flaps  on  the  hips.  In  morning  coats  the 
sleeves  were  slit  at  the  wrist  and  finished  with  three  large 
buttons. 

Breeches  of  light  drab,  made  tight-fitting  at  the  hips,  and 
rather  long,  were  in  general  favour.  Pantaloons  were  made  of 
a  material  called  "  double  milled-stocking,"  something  like  the 
stockinette  of  to-day  ;  and  a  striped  kerseymere,  adopted  by  the 

Prince  of  Wales,  whose  taste  in  matters  of  masculine  attire  was 

378 


HISTORIC  DRESS  IN  AMERICA 


379 


rivalled  only  by  Beau  Brunimell,  became  very  fashionable 
in  1810. 

Waistcoats  were  gay  at'  this  time.  They  were  made  single- 
breasted  and  with  short  regimental  skirts,  the  collar  fitting  under 
the  coat  collar.  The  favourite  material  was  striped  marseilles 
of  various  colours. 

Green  was  a  popular  colour,  especially  for  top-coats  which 
were  made  double-breasted  and  trimmed  with  covered  buttons. 
The  tails  were  wonderfully  full  and  had  pockets  in  the  plaits  at 
the  back.  The  shape  of  the  coat  shown  in  Figure  55  was 
fashionable  for  many  years. 

In  1811,  hats  with  low  crowns  and  curved  brims  were  in- 
troduced, but  not  to  the  exclusion  of  high  hats,  which  have 
been  unaccountably  popular  ever  since  the  end  of  the  seven- 
teenth century.  Walking  coats  were  not  cut  away,  but  buttoned 
up  the  front.  Light  pantaloons  reaching  to  the  ankle  were  a 
characteristic  fashion  of  that  year,  and  black  shoes  were  uni- 
versally worn. 

The  next  year,  1812,  is  noticeable  for  a  change  in  the  shape 
of  the  high  hats.  Brims  were  made  very  narrow  and  drooped 
very  much  both  back  and  front,  while  the  crowns  were  narrow 
at  the  top  like  the  sugar-loaf  crowns  worn  in  1850.  (See 
Figure  347.)  There  was  a  change  in  the  waistcoats  too.  They 
were  cut  high  and  close  up  to  the  chin,  allowing  only  a  small 
bow-necktie  to  show.  Coats  were  again  short-waisted  and  cut 
away,  showing  the  waistcoats.  Long  pantaloons  of  cloth  were 
worn  with  high  boots  (Figure  95).  Pictures  of  this  date  show 
long,  close-fitting  pantaloons  finished  with  a  row  of  small  but- 
tons above  the  ankle.  An  illustration  is  given  in  Figure  363 
of  a  pair  made  of  buff-coloured  duck  which  were  worn  in  Boston 
about  1812. 

Though,  as  we  know  now,  pantaloons  had  come  to  stay, 


1860-1870 

Figure  312. — 1860 — Lady  in  white  worked  muslin  dress  over  a  fashionable 
hoop-skirt.  The  dress  is  made  with  seven  graduated  flounces  and  full 
bell  sleeves.    From  a  plate.    Head  from  a  contemporary  portrait. 

Figure  313. — 1862 — Walking  costume  of  this  date.  A  black  velvet  pelisse 
over  black  silk  gown.  Black  bonnet  faced  with  pink.  Muff  of  chin- 
chilla.   From  a  contemporary  photograph. 

Figure  314. — 1864 — Gentleman  in  frock  coat  suit.  From  a  portrait  of  this 
date. 

Figure  315. — 1868 — Young  lady  in  a  dress  of  blue  Chambery  gauze.  Head 

from  a  contemporary  portrait. 
Figure  316. — 1870 — Street  dress  of  dull  green  silk.    Mantilla  trimmed 

with  black  lace.    Small  bonnet  trimmed  with  roses.    From  a  plate  of 

this  date. 

Figure  317.  — 1869 — Ball  dress  of  white  Chambery  gauze  trimmed  with  white 
satin  folds  and  blond  lace.  Worn  in  this  year.  Head  from  a  con- 
temporary print. 

Figure  318. — 1870 — Gentleman  in  walking  suit  of  dark  blue  coat,  drab 
pantaloons,  white  waistcoat,  and  grey  beaver  hat.  From  a  photograph 
of  this  date. 


HISTORIC  DRESS  IN  AMERICA 


383 


much  hostility  was  at  first  shown  towards  them.  Taken  from 
the  military  dress  introduced  into  the  army  by  the  Duke  of 
Wellington  during  the  Peninsular  war,  and  at  first  known  as 
"  Wellington  trousers,"  they  came  into  more  or  less  general  use 
at  the  beginning  of  the  nineteenth  century,  when  the  clergy 
and  the  fashionable  world  combined  to  oppose  the  innovation. 
An  original  trust  deed,  executed  in  1820,  of  a  Non-conformist 
chapel  contains  a  clause  providing  that  "  under  no  circumstances 
shall  a  preacher  be  allowed  to  occupy  the  pulpit  who  wears 
long  trousers  "  ;  *  and  we  are  also  informed  that  Almack's  would 
not  admit  any  one  so  attired.  The  universities  were  equally 
firm  in  their  opposition,  and  in  1812  the  authorities  of  Trinity 
and  St.  John's  Colleges,  Cambridge,  decreed  that  students  ap- 
pearing in  hall  or  chapel  in  pantaloons  or  long  trousers  should 
be  considered  absent,  f 

Whiskers  came  into  vogue  in  1800  and  were  extremely  fash- 
ionable in  1812.  They  are  commemorated  in  the  following 
verses  published  in  a  magazine  of  that  year  : 

"  With  whiskers  thick  upon  my  face, 
I  went  my  fair  to  see  ; 
She  told  me  she  could  never  love 
A  bear-faced  chap  like  me. 

"  I  shaved  them  clean  and  called  again, 
And  thought  my  troubles  o'er  ; 
She  laughed  outright  and  said  I  was 
More  bare-faced  than  before." 

A  fashion  plate  of  1814  shows  a  close-fitting  top-coat  of 
green  cloth  with  cuffs  and  collar  of  fur.  The  back  seams  of 
the  coat  are  trimmed  with  a  flat  black  braid,  the  tails  plaited 

*  Early  Hostility  to  Trousers,  by  William  Andrews, 
t  Cooper's  Annals  of  Cambridge. 


3^4 


HISTORIC  DRESS  IN  AMERICA 


full  and  the  sleeves  long  and  tight-fitting.  With  this  coat  was 
■worn  a  small  chimney-pot  hat  with  drooping  brim. 

The  new  king,  Louis  XVIII,  sent  M.  de  Neuville  to  repre- 
sent France  in  the  United  States  and,  in  the  letters  of  Mrs. 
Samuel  Harrison  Smith  which  have  already  furnished  us 
with  many  valuable  facts  in  the  History  of  Dress  of  her  time, 
we  find  a  description  of  the  costumes  of  the  French  delegation. 

"  M.  de  Neuville  and  suite  were  at  Mrs.  Monroe's  Drawing- 
room  in  the  most  splendid  costumes,  not  their  court  dress  how- 
ever. Blue  coats  covered  with  gold  embroidery.  The  collar 
and  back  literally  covered  with  wreaths  of  fleurs-de-lys.  With 
white  underclothes  and  huge  chapeaux  with  feathers.  The 
Minister's  feather  was  white,  the  Secretaries'  black  and  their 
dress,  tho'  in  the  same  style,  was  not  so  superb  as  his." 

At  the  same  time  Mrs.  Seaton  wrote  the  following  account 
of  the  gorgeous  equipage  and  liveries  of  the  French  Minister  on 
the  occasion  of  a  reception  at  the  President's  house  : 

"  After  partaking  of  some  ice-creams  and  a  glass  of  Madeira, 
shaking  hands  with  the  President  and  tendering  our  good 
wishes,  we  were  preparing  to  leave  the  rooms,  when  our  at- 
tention was  attracted  through  the  window  towards  what  we 
conceived  to  be  a  rolling  ball  of  burnished  gold,  carried  with 
swiftness  through  the  air  by  two  gilt  wings.  Our  anxiety  in- 
creased the  nearer  it  approached,  until  it  actually  stopped 
before  the  door ;  and  from  it  alighted,  weighted  with  gold 
lace,  the  French  Minister  and  suite.  We  now  also  perceived 
that  what  we  had  supposed  to  be  wings,  were  nothing  more 
than  gorgeous  footmen  with  chapeaux  bras,  gilt  braided  skirts 
and  splendid  swords.  Nothing  ever  was  witnessed  in  Wash- 
ington so  brilliant  and  dazzling,  a  meridian  sun  blazing  full 
on  this  carriage  filled  with  diamonds  and  glittering  orders, 
and  gilt  to  the  edge  of  the  wheels, — you  may  well  imagine 


HISTORIC  DRESS  IN  AMERICA 


385 


how  the  natives  stared  and  rubbed  their  eyes  to  be  convinced 
'twas  no  fairy  dream." 

President  Monroe  endeavoured  to  restore  some  of  the  stately 
formalities  which  had  distinguished  official  life  in  the  capital 
during  the  administrations  of  Washington  and  Adams.  When 
he  sent  Mr.  Pinckney  as  Minister  to  France,  the  diplomatic 
dress  of  our  legations  at  all  the  foreign  courts  was  very  rich 
and  dignified.  A  portrait  of  Richard  Rush  of  Philadelphia, 
who  was  Minister  at  the  Court  of  St.  James  from  1817  to  1825, 
in  the  possession  of  his  granddaughter,  shows  a  blue  coat 
richly  embroidered  with  gold.  It  was  lined  with  white  silk 
and  worn  with  white  waistcoat,  ruffled  shirt,  knee-breeches 
and  white  silk  stockings.  A  dress  sword  and  chapeau  bras  com- 
pleted this  costume. 

The  formal  tea-drinkings,  solemn  weekly  dinners  at  the 
White  House,  and  the  "  infrequent  receptions  "  of  Mrs.  Monroe 
were  relieved  by  numerous  card  parties  and  conversation  par- 
ties. These,  we  learn,  were  "  very  elegant "  at  the  British  Min- 
ister's, and  "  very  gay  "  at  the  French  Embassy.  M.  de  Neu- 
ville  it  seems  "used  to  puzzle  and  astound  the  plain-living 
Yankees  by  serving  dishes  of  turkeys  without  bones  and  pud- 
dings in  the  form  of  fowls,  fresh  cod  dressed  as  salad,  celery  like 
oysters  ;  further  he  scandalized  some  and  demoralized  others  by 
having  dancing  parties  on  Saturday  evenings,  which  the  New 
England  ladies  had  been  educated  to  consider  as  holy  time." 

During  the  last  years  of  the  Regency  a  marvellous  variety  of 
cravats  were  introduced. 

"  A  book  on  the  intricate  subject  of  cravats  was  published  at 
London  in  1818  entitled  '  Neckclothitania,  or  Titania  :  being  an 
Essay  on  Starchers,  By  One  of  the  Cloth.'  The  fashionable 
varieties  of  neck-wear  at  that  time  appear  to  have  been  the  Na- 
poleon, American,  Mail-Coach,  Osbaldestan  and  Irish  ties ;  and 


8S6 


HISTORIC  DRESS  IN  AMERICA 


another  called  the  Mathematical  tie  from  its  triangular  form  is 
described  as  being  only  one  degree  less  severe  than  the  Oriental 
tie,  which  was  so  high  that  the  wearer  could  not  see  where  he 
was  going  and  so  stiff  that  he  could  not  turn  his  head." 

One  article  of  men's  attire  which  has  the  distinction  of  an 
illustrious  namo  and  was  very  popular  both  in  England  and 
America  from  1815  to  1850  was  the  Wellington  boot.  It  was 
perhaps  the  most  fashionable  foot-wear  for  gentlemen  in  the 
first  half  of  the  nineteenth  century  and  was  popularly  supposed 
to  have  been  designed  by  the  Duke  of  Wellington,  for  whom  it 
was  undoubtedly  named.  These  boots  were  made  of  calfskin 
and  fitted  close  to  the  leg  as  far  as  the  knee  and  were  worn 
under  long  trousers  fastened  with  a  strap  beneath  the  sole  of  the 
boot.   (See  Figure  343.) 

Mr.  Richard  Rush  of  Philadelphia  was  still  Minister  at  the 
Court  of  Great  Britain  at  the  time  of  the  accession  of  George  IV. 
In  his  Memoirs  (1817-1825)  he  describes  the  gorgeous  celebra- 
tion of  the  coronation  on  July  19,  1820.  Speaking  of  the 
diplomatic  corps  on  that  occasion  he  observes  that  the  box  pre- 
pared for  the  Foreign  Ambassadors  and  Ministers  was  at  the 
south  end  of  the  building  (Westminster  Abbey)  opposite  the 
space  fitted  up  for  the  Royal  Family.  It  was  near  the  throne, 
affording  a  good  view  of  the  imposing  ceremony.  The  gorgeous 
costumes  worn  by  the  participants  in  the  drama  were  after- 
wards reproduced  in  colour  by  order  of  his  Majesty  and  pub- 
lished in  a  portfolio  volume  by  Sir  George  Nayler.  These  cos- 
tumes must  have  been  very  handsome  and  very  hot  for  a  July 
day.  The  mantles  were  of  velvet  lined  and  trimmed  with  fur, 
and  the  hats  were  heavy  with  groups  of  ostrich  plumes. 

In  the  Memoirs  of  Lester  Wallack,  the  renowned  actor,  we 
find  the  later  history  of  these  same  costumes.    He  says  : 

"  George  IV  was  a  most  theatrical  man  in  all  he  did,  and 


HISTOEIC  DRESS  IN  AMERICA 


387 


when  his  coronation  took  place  he  dressed  all  his  courtiers  and 
everybody  about  him  in  peculiarly  dramatic  costumes.  Dresses 
of  Queen  Elizabeth's  time.  It  was  all  slashed  trunks  and  side 
cloaks,  etc.  Of  course  the  dukes,  earls  and  barons  were  particu- 
larly disgusted  at  the  way  they  had  to  exhibit  themselves  and 
as  soon  as  the  coronation  ceremonies  were  over  these  things  were 
thrown  aside  and  sold,  and  Elliston  bought  an  enormous  num- 
ber of  them.  He  was  then  the  lessee  of  the  Surrey  Theatre 
where  he  got  up  a  great  pageant  and  presented  the  Coronation 
of  George  IV." 

In  the  spring  of  1820  the  Honourable  Stratford  Canning 
came  to  the  United  States  as  Minister  from  Great  Britain.  In 
his  Memoirs  there  is  an  interesting  description  of  the  onerous 
preparations  the  post  entailed.  It  was  considered  essential  to 
bring  furniture,  servants,  and  all  the  household  equipment  he 
required  from  England,  and  it  took  three  days  to  get  his  effects 
on  board  the  ship.  He  brought  over  eleven  servants,  including 
a  French  cook.  A  cabriolet  too  was  brought,  but  we  hear  noth- 
ing of  horses  and  infer  that  America  was  thought  capable  of 
supplying  suitable  steeds  for  his  distinguished  use.  As  he  was 
one  of  the  greatest  men  England  has  ever  sent  to  this  country, 
he  deserved  to  be  made  comfortable,  even  if  his  remarks  on  the 
manners  and  customs  of  the  people  he  met  were  not  always 
flattering. 

He  came  in  a  friendly  spirit ;  to  use  his  own  words  : . "  The 
duty  imposed  upon  me  by  the  authorities  in  Downing  Street  was 
principally  to  keep  the  peace  between  Mother  and  Daughter. 
It  was  not  easy  to  keep  the  peace  when  the  daughter  was  as 
vain  and  sensitive  as  new  fledged  independence  could  make 
her."  Landing  at  Baltimore,  he  says  :  "  Fair  accommodations 
awaited  me  at  the  Inn,  and  such  native  luxuries  as  soft  crabs 
and  cakes  made  of  Indian  corn  opened  a  new  field  to  the  curious 


3S8 


HISTORIC  DRESS  IN  AMERICA 


appetite."  Of  Washington,  which  he  reached  the  following 
day,  he  seems  to  have  received  a  rather  dismal  impression.  "  1 
know  not  what  appearance  the  grand  seat  of  government  with 
its  Capitol  and  the  celebrated  White  House  present  at  this 
period,  but  when  I  first  saw  it  forty-eight  years  ago  the  Penn- 
sylvania Avenue,  extending  from  one  to  the  other,  or  nearly  so, 
was  the  only  thing  approaching  our  notion  of  a  street  and  that 
for  the  most  part  rather  prospectively  than  in  actual  existence. 
A  low  flat  space  of  considerable  extent  formed  the  site  of  the 
embryo  metropolis  of  the  Union." 

On  the  subject  of  dress  he  remarks  :  "  Breeches  and  silk 
stockings  are  not  infrequently  worn  of  an  evening,  but  these 
innovations  are  perhaps  confined  to  the  regions  of  Washington. 
Even  here  the  true  republican  virtues  have  found  refuge.  At 
the  Foreign  Office,  trousers,  worsted  stockings  and  gaiters  for 
winter.  In  summer  a  white  roundabout,  i.  e.,  cotton  jacket, 
sans  neck-cloth,  sans  stockings  and  sometimes  sans  waistcoat. 
The  Speaker  of  the  House  in  the  United  States  sits  in  his  chair 
of  office  wigless  and  ungowned.  I  observed  several  of  the 
members  of  Congress  quite  as  well  dressed  as  Martin  Pitt.  The 
Quakers  struck  me  as  being  particularly  attentive  to  their  per- 
sons, their  chins  close  shaved  and  their  hats  of  the  best 
beaver.  Monday,  March  9th,  when  all  attended  the  President's 
Inauguration  in  lace  coats  and  silk  stockings,  was  a  most 
wretched  day,  but  as  Talleyrand  said,  'Nothing  is  settled  in 
America,  not  even  the  climate.'  I  might  be  tempted  to  de- 
scribe the  costume  which  I  assumed  since  the  summer  set  in, 
not  omitting  my  white  cotton  jacket,  my  umbrella  and  brimmed 
hat  of  Leghorn." 

This  is  Mr.  Canning's  picture ;  now  let  us  look  on  that  of 
Mrs.  Seaton  from  whose  entertaining  letters  we  quote  as  fol- 
lows : 


HISTORIC  DRESS  IN"  AMERICA 


3S9 


"  The  city  is  unusually  gay,  and  crowded  with  agreeable 
and  distinguished  visitors.  Mr.  Canning's  initiatory  ball 
seemed  to  rouse  the  emulation  of  his  neighbours,  and  we  have 
had  a  succession  of  fetes.  The  British  Minister's  route  was 
unique.  The  English  are  half  a  century  before  us  in  style. 
Handsome  pictures,  books,  and  all  sorts  of  elegant  litter  dis- 
tinguish his  rooms,  the  mansion  being  decorated  with  peculiar 
taste  and  propriety.  Mr.  Canning  is  himself  a  most  unpre- 
tending man  in  appearance  and  manners  ;  modesty  appears  to 
be  his  peculiar  characteristic,  which  for  a  foreign  minister  is  no 
negative  praise.  The  birthnight  *  ball  was  brilliant.  The  con- 
trast between  the  plain  attire  of  President  Monroe  and  Mr. 
Adams  and  the  splendid  uniforms  of  the  diplomatic  corps,  was 
very  striking,  the  gold,  silver  and  jewels  donned  by  the  for- 
eigners in  compliment  to  the  anniversary  festival  of  our  patriot 
and  hero  certainly  adding  splendour  to  the  scene.  The  capti- 
vating D'Aprament  made  his  debut  in  brilliant  crimson  indis- 
pensables  laced  with  gold,  an  embroidered  coat,  stars  and 
orders,  golden  scabbard  and  golden  spurs.  Poor  girls  !  Per- 
fectly irresistible  in  person,  he  besieged  their  hearts  and  not 
content  with  his  triumphs  there,  his  sword  entangled  their 
gowns,  his  spurs  demolished  their  flounces,  in  the  most  attract- 
ive manner  possible ;  altogether  he  was  proclaimed  invincibly 
oharming.  M.  de  Neuville  has  adopted  a  new  course  since  his 
return.  Formerly,  his  secretaries  were  remarkably  small  and 
insignificant  in  appearance,  but  he  now  appears  to  have 
selected  his  legation  by  their  inches.  The  most  cultivated 
Frenchman  whom  I  have  ever  met  is  in  M.  de  Neuville's 
family,  the  Chevalier  du  Menu.  He  has  resided  ten  years  in 
America,  and  is  a  poet,  orator,  and  scientific  man,  though  still 
young." 

*  Washington's  birthday. 


1830-1840 


Figure  319. — Evening  dress.    Portrait  of  Disraeli,  by  Maclise. 
Figure  320. — Street  dress.    Portrait  of  Leigh  Hunt,  by  Maclise. 
Figure  321.— Street  dress.    Portrait  of  Count  d'Orsay,  by  Maclise. 
Figure  322. — Dressing  gown.    Portrait  of  Count  d'Orsay,  by  Maclise. 
Figure  323. — Travelling  cloak.    Portrait  of  William  Bowls,  by  Maclise. 
Figure  324. — Street  dress.    Portrait  of  Lord  Lyndhurst,  by  Maclise. 
Figure  325. — Travelling  shawl.   Portrait  of  James  Hogg,  by  Maclise. 


HISTORIC  DRESS  IN  AMERICA 


393 


In  1820  we  notice  dark  pantaloons  were  very  fashionable, 
and  gaiters,  cutaway  coats,  high  stocks  and  ruffled  shirts. 
There  was  a  slight  change  in  the  high  hats.  They  were  wider 
at  the  top  and  narrower  at  the  crown,  as  in  Figure  101.  Long 
cloaks  were  popular.  They  had  a  military  air  and  were 
picturesque  when  lined  with  red  and  ornamented  with  frogs. 
Watches  were  worn  with  fobs  and  seals  throughout  the  twenties 
as  will  be  seen  in  the  portraits  of  that  time.  According  to  the 
following  foolish  verses  published  in  "  La  Belle  Assemblee  "  for 
December,  1820,  pantaloons  were  worn  loose-fitting  and  shoes 
with  high  heels  were  fashionable  : 

"Modern  Male  Fashions 

"  Crops,  like  hedge  hogs,  small  white  hands, 
Whiskers,  like  Jew  Moses  ; 
Collars  padded,  stiff  cravats, 
And  cheeks  as  red  as  roses. 

"  Faces  painted  deepest  brown, 
Waistcoats  striped  and  gaudy  ; 
Sleeves,  thrice  doubled,  thick  with  down, 
And  stays  to  brace  the  body. 

"  Short  great  coats  that  reach  the  knees, 
Boots  like  French  postillion  ; 
Meant  the  lifty  race  to  please, 
But  laughed  at  by  the  million. 

"  High-heeled  shoes,  with  silken  strings, 
Pantaloons  loose  fitting  ; 
Fingers  deck'd  with  golden  rings, 
And  small-clothes  made  of  knitting. 

"  Bludgeons,  like  a  pilgrim's  staff, 
Or  canes,  as  slight  as  osiers  ; 
Doubled  hose,  to  shew  the  calf, 
And  swell  the  bill  of  hosiers. 


»I>  jjj> 


394 


HISTORIC  DRESS  IN  AMERICA 


"  Such  is  giddy  Fashion's  son, 
Such  a  modern  lover  ; 
Oh  !  would  their  reign  had  ne'er  begun, 
And  may  it  soon  be  over  !  " 

"  Small  clothes  made  of  knitting  "  evidently  referred  to  stock- 
inette. 

The  inauguration  of  President  Monroe  in  1821  (his  second 
term)  offers  a  striking  contrast  to  the  coronation  of  the  English 
King  in  the  previous  year.  We  quote  the  following  description 
from  a  letter  of  Judge  Story  to  his  wife  in  Boston  : 

"  It  was,  according  to  arrangement,  to  be  performed  in  the 
chamber  of  the  House  of  Representatives.  This  is  a  splendid 
and  most  magnificent  hall  in  the  shape  of  a  horseshoe,  having 
a  colonnade  of  marble  pillars  round  the  whole  circular  sweep 
which  ascend  to  and  support  the  lofty  dome.  The  galleries  for 
spectators  were  about  midway  the  pillars  and  the  seats  gradually 
rise  as  they  recede.  The  hall  was  thronged  with  ladies  and 
gentlemen  of  the  neighbouring  cities  to  witness  the  ceremony. 
About  12  o'clock  the  President  came  into  the  hall  dressed  in  a 
plain  suit  of  black  broadcloth  with  a  single-breasted  coat  and 
waistcoat  with  flaps,  in  the  old  fashion.  He  also  wore  small 
clothes  with  silk  stockings,  and  shoes  with  gold  buckles  in 
them.  He  placed  himself  in  a  chair  usually  occupied  by  the 
Clerk  of  the  House  of  Representatives,  facing  the  whole  audi- 
ence. On  his  right  was  the  President  of  the  Senate,  on  his 
left  the  Speaker  of  the  House.  The  Secretaries  of  all  the  de- 
partments sat  in  a  row  on  the  right,  and  on  the  left  all  the 
foreign  Ministers  and  their  suites  dressed  out  in  all  their  most 
splendid  court  dresses  and  arranged  according  to  their  rank. 
Immediately  in  front  of  the  President  at  a  small  distance  were 
placed  seven  chairs  for  the  Judges  who,  upon  notice  of  the 
arrival  of  the  President,  went  into  the  hall  in  their  judicial 


HISTORIC  DRESS  IN  AMERICA 


395 


robes  attended  by  the  Marshal.  The  Chief-Justice  was  im- 
mediately requested  to  take  the  chair  on  the  left  of  the  Presi- 
dent, who  soon  afterwards  rose,  and  the  Chief-Justice  admin- 
istered the  oath  of  office.  The  President  then  delivered  his 
inaugural  speech,  the  Justices,  the  foreign  Ministers,  the  Presi- 
dent of  the  Senate  and  the  Speaker  of  the  House  remaining 
standing.  Altogether  the  scene  was  truly  striking  and  grand. 
There  was  a  simple  dignity  which  excited  very  pleasing  sensa- 
tions. The  fine  collection  of  beautiful  and  interesting  women 
dressed  with  great  elegance,  and  the  presence  of  so  many  men 
of  talents,  character  and  public  services,  civil  and  military.  I 
do  not  know  that  I  was  ever  more  impressed  by  a  public 
spectacle." 

John  Marshall  was  Chief-Justice  of  the  United  States  on  the 
occasion  described  above.  A  portrait  of  him  in  his  official  robes 
is  given  in  Figure  354,  and  one  of  Judge  Story  in  his  robes  in 
Figure  303,  as  specimens  of  typical  legal  dress  in  America. 
Some  idea  of  the  splendour  of  the  costumes  worn  by  the  foreign 
embassies  on  the  same  occasion  may  be  gleaned  from  the  de- 
scriptions given  in  pages  384  and  388.  The  embroidered  fleurs- 
de-lys,  etc.,  must  have  stood  out  in  strong  relief  against  the  black 
robes  of  the  judges  and  the  black  clothes  of  the  chief  actors  in 
the  scene. 

In  1825  the  court  dress  of  ambassadors  is  described  in  a 
fashion  book  as  a  cutaway  coat  trimmed  with  gold  lace  over  a 
white  waistcoat  and  knee-breeches  and  white  stockings.  Ruf- 
fled shirt  and  high  white  stock.  A  dress  sword,  white  gloves 
and  chapeau  bras  similar  to  the  costume  worn  by  Mr.  Rush  at 
the  Court  of  St.  James.    (See  Figure  141.) 

Long  overcoats  with  full  tails  and  a  deep  cape,  and  finished 
with  a  broad  collar  either  of  the  same  cloth  or  of  black  velvet, 
were  worn  from  1825  to  1830.    An  illustration  of  one  of  these 


396 


HISTORIC  DRESS  IN  AMERICA 


coats  is  shown  in  Figure  143  and  another  in  Figure  364,  taken 
from  a  plate  of  1829.  The  pantaloons  reaching  to  the  ankle,  but 
strapped  under  the  stocking,  are  also  shown  in  the  latter  pic- 
ture. They  were  in  the  extreme  of  fashion  in  1829.  Specimens 
of  the  high  stocks  which  were  worn  at  this  time  are  given  in 
Figures  326  and  329.  The  "  stock  sentimentale  "  truly  merits 
its  name,  and  the  "  stock  POrientale  "  evidently  derived  its  des- 
ignation from  the  crescent  shaped  tie  beneath  the  chin. 


Men's  Apparel 

1830-1850 


"  According  to  the  fashion  and  the  time." 

HE  period  of  the  thirties  was  distinguished 
for  a  rather  effeminate  and  extremely  un- 
picturesque  style  of  costume  for  men. 
Coats  were  made  to  fit  tight,  the  shoulders 
were  padded  and  they  were  drawn  in  at 
the  waist  line  without  a  wrinkle.  The 
sleeves  were  very  tight  and  put  in  at  the 
armhole  without  any  fullness  whatever. 
In  fact,  the  coats  of  this  period  which  have 
been  lent  for  our  illustrations  were  all  so 
small  in  the  armhole  and  tight  in  the  sleeves  that  a  full-grown 
man  could  not  possibly  put  them  on,  and  in  every  instance  we 
have  had  to  make  use  of  young  boys  for  models. 

"  My  love  is  all  that  is  polite, 
He  looks  so  pale  and  thin  ; 
He  wears  his  boots  so  very  tight, 
And  pulls  so  closely  in. 

"  Oh  !  what  a  deal  in  hats  and  gloves, 
In  vests  and  coats  he  spends ; 
I  call  the  heart  that  truly  loves, 
The  tailor's  best  of  friends." 

The  trousers  also  were  quite  tight  and  produced  a  slim,  gen- 
teel effect  which  seems  to  have  been  the  beau  ideal  of  mascu- 
line perfection  at  that  date. 

The  hair  was  worn  in  loose  waved  locks  over  the  forehead, 
and  side  whiskers  were  affected  by  most  young  gallants  of  the 
time  (Figures  148  and  307). 

397 


SOS 


HISTORIC  DRESS  IN  AMERICA 


We  note  the  description  of  a  suit  for  summer  wear  of  a  dark 
slate-coloured  cloth,  made  with  a  collar  of  black  velvet  in  an 
American  magazine  of  fashion  for  1830,  and  also  the  statement 
that  the  backs  of  coats  are  cut  wide  across  the  shoulders  and 
narrow  at  the  waist,  the  "  hip-buttons "  being  placed  about 
three  inches  apart.  This  would  naturally  contribute  to  the 
slender-waisted  effect  mentioned  above.  The  "  latest  "  in  waist- 
coats, according  to  the  same  authority,  was  white  marseilles 
with  large  black  spots,  bound  with  black  galloon  and  made  with 
a  deep  rolling  collar.  The  newest  trousers  were  of  moleskin, 
buttoned  up  the  front  with  a  fly,  made  rather  full  about  the 
hips,  tight  from  knee  to  ankle,  and  cut  out  on  the  instep  to  fit 
the  boot. 

The  high  stocks,  which  were  still  universally  worn,  are  illus- 
trated in  Figures  330,  367,  and  368,  Figure  330  being  copied 
from  a  wedding  stock  worn  in  Philadelphia  by  Dr.  William 
Hunt  in  1834.  A  specimen  of  the  high  shirt  collars  worn  in 
the  thirties  is  given  in  Figure  327. 

A  fashion  plate  for  1833*  shows  the  extreme  of  the  lady-like 

dressing  of  gentlemen  at  that  time.    A  tight-fitting  overcoat 

tapering  at  the  waist  with  a  broad  rolling  collar  opening  wide 

to  show  the  waistcoat  and  shirt  bosom,  a  voluminous  skirt 

reaching  to  the  instep.    A  chimney-pot  hat  with  scarcely  any 

brim.    With  this  peculiar  costume,  chin  whiskers  were  worn  and 

the  general  effect  is  very  foolish  (Figures  307  and  309). 

"  They've  made  him  a  dandy  ; 
A  thing,  you  know,  whisker' d,  great-coated,  and  lac'd  ; 
Like  an  hour-glass,  exceedingly  small  in  the  waist : 
Quite  a  new  sort  of  creature  unknown  yet  to  scholars, 
"With  heads  so  immovably  stuck  in  shirt  collars, 
That  seats  like  our  music-stools  soon  must  be  found  them, 
To  twirl  when  the  creatures  wish  to  look  round  them."  f 

*  In  the  valuable  collection  of  the  Salmagundi  Club,  New  York, 
f  Fudge  Family  in  Paris,  Thomas  Moore. 


HISTORIC  DRESS  IX  AMERICA 


399 


Palm  leaf  hats  were  introduced  about  1826  and  became  so 
popular  in  the  protracted  heat  of  an  American  summer  that 
they  are  often  mentioned  as  typical  articles  of  costume  (Fig- 
ure 371).  The  following  description  is  taken  from  "  The  New 
England  Magazine  "  of  1831  : 

"  Palm  Leaf  Hats  are  manufactured  to  a  surprising  extent  in 
New  England,  but  principally  in  Massachusetts.  The  manufac- 
turing of  them  commenced  in  1826,  in  consequence  of  the  en- 
couragement afforded  by  the  duty  laid  on  imported  Leghorn, 
straw  and  grass  hats.  It  is  believed  that  in  this  year  alone  up- 
wards of  two  millions  of  hats  will  be  made,  the  average  value  of 
which  is  about  three  dollars  a  dozen,  amounting  to  a  half  mil- 
lion of  dollars.  In  Worcester  County  it  is  supposed  half  the 
quantity  above  stated  will  be  made.  The  leaf  is  imported  from 
the  island  of  Cuba;  last  year  six  hundred  tons,  worth  fifty  thou- 
sand dollars,  was  received.  The  hats  are  all  made  at  the  dwell- 
ings of  the  inhabitants,  by  girls  from  fourteen  years  old  and 
upwards,  are  then  sold  to  the  country  merchants,  who  collect 
them  together  and  send  them  to  Boston,  New  York  and  other 
markets.  They  are  made  of  every  quality,  varying  from 
25  cents  to  $2  each,  and  suited  to  the  man  of  fashion  or  the 
labourer." 

The  high  hats  of  1830  were  still  of  beaver,  but  not  al- 
ways of  black.  Grey  and  white  beavers  were  equally  fash- 
ionable from  1830  to  1835 ;  the  popular  shape  of  that 
time  is  illustrated  in  Figures  148,  307  and  309.  Grey  hats 
were  worn  in  the  daytime,  and  black  beaver  hats  in  the  even- 
ing. 

In  1830  we  read  of  a  new  surtout  called  a  Casauba,  made  with 
a  rouleau  of  cloth  instead  of  a  collar.  Dressing  gowns  of  printed 
cachemire  were  fashionable  too  at  that  time,  and  a  peculiar  gar- 
ment called  a  redingote  vest  made  of  merino  reaching  almost  to 


1807-1870 

Figure  326. — 1829— Stock  1' Oriental.    From  a  print. 
Figure  327. — 1830 — Shirt  collar,  1830  and  after.    From  a  print. 
Figure  328. — 1840 — Stock  of  black  satin  of  this  date. 
Figure  329. — 1829 — Stock  sentimentale.    From  a  print. 
Figure  330. — 1834 — White  satin  stock  worn  at  this  time.    (Back  and  front 
views.) 

Figure  331. — 1813— Breadman. 
Figure  332.— 1813— Dustman. 
Figure  333. —1813— Sailor. 

Figure  334. — 1800-70 — English  workman  in  smock. 
Figure  335. — 1837 — White  satin  waistcoat. 
Figure  336.— 1838— Old  coat  of  white  linen. 

Figure  337. — 1830 — White  linen  shirt  worn  in  Philadelphia  at  this  date. 

Figure  338. — 1825 — Militia  coat  of  red  cloth  faced  with  brown  velvet. 

Figure  339.— 1825— Military  coat  of  dark  blue  cloth  faced  with  scarlet. 

Figure  340.— 1807 — Chapeau  bras.    From  a  print. 

Figure  341.— 1850— White  beaver  hat.    Memorial  Hall,  Philadelphia. 

Figure  342.— 1815-50— Dress  boots. 

Figure  343.— 1815-50— Wellington  boots. 

Figure  344.— 1800-50— Blucher  boots. 

Figure  345.— 1800-40— Hessian  boots. 

Figure  346.— 1800-50— Top  boots. 

Figure  347. — 1809 — Hat  with  rolling  brim. 

Figure  348. — 1850 — A  black  silk  high  hat.    Memorial  Hall,  Philadelphia. 
Figure  349. — 1865 — Picture  of  a  round  hat  worn  by  an  old  man  in  this 
year.    From  a  contemporary  print. 


HISTORIC  DRESS  IN  AMERICA 


403 


the  knees  and  fastened  with  buttons  of  jet  or  of  white  metal,  for 
morning  wear. 

The  following  remarks  on  the  various  expressions  of  which 
a  coat  is  capable  were  found  in  an  old  magazine  of  the  thirties : 

"  Old  coats  are  the  indices  by  which  a  man's  peculiar  turn 
of  mind  may  be  pointed  out.  So  tenaciously  do  I  hold  this 
opinion,  that,  in  passing  down  a  crowded  thoroughfare,  the 
Strand,  for  instance,  I  would  wager  odds  that,  in  seven  out  of 
ten  cases,  I  would  tell  you  a  stranger's  character  and  calling  by 
the  mere  cut  of  his  every-day  coat.  Who  can  mistake  the  staid, 
formal  gravity  of  the  orthodox  divine,  in  the  corresponding 
weight,  fullness  and  healthy  condition  of  his  familiar  easy-na- 
tured  flaps?  Who  sees  not  the  necessities,  the  habitual  eccen- 
tricities of  the  poet,  significantly  developed  in  his  haggard, 
shapeless  old  apologies  for  skirts,  original  in  their  genius  as 
'  Christabel,'  uncouth  in  their  build  as  the  New  Palace  at  Pim- 
lico?  Who  can  misapprehend  the  motions  of  the  spirit,  as  it 
slyly  flutters  beneath  the  Quaker's  drab?  Thus,  too,  the  sable 
hue  of  the  lawyer's  working  coat  corresponds  with  the  colour  of 
his  conscience :  while  his  thrift,  dandyism  and  close  attention 
to  appearances,  tell  their  own  tale  in  the  half-pay  officer's  smart, 
but  somewhat  faded  exterior." 

The  close  relationship  between  the  coat  and  the  wearer  has 
been  touchingly  expressed  by  an  American  poet  as  follows  : 

"Old  coat,  for  some  three  or  four  seasons 

We've  been  jolly  comrades,  but  now 
We  part,  old  compauion,  forever  ; 

To  fate  aud  to  fashion  I  bow. 
You'd  look  well  enough  at  a  dinner, 

I'd  wear  you  with  pride  at  a  ball, 
But  I'm  dressing  to-night  for  a  wedding 

My  own,  and  you'd  not  do  at  all. 


404 


HISTORIC  DRESS  IX  AMERICA 


"There's  a  reprobate  looseness  about  you 
Should  I  wear  you  to-night  I  believe 
As  I  came  with  my  bride  from  the  altar 
You'd  laugh  in  your  wicked  old  sleeve. 

*jc  sjc  Jj*  5f>  #j» 

'Tis  time  to  put  on  your  successor, 

It's  made  in  a  fashion  that's  new  ; 
Old  coat,  I'm  afraid  it  will  never 

Sit  as  easily  on  me  as  you."  * 

An  English  traveller  visiting  Washington  in  1832  was  ap- 
parently much  interested  in  the  appearance  and  dress  of  a  depu- 
tation of  Indians  which  was  quartered  for  a  short  time  in  the 
hotel  where  he  was  staying.  Several  of  these,  he  remarks, 
"  wore  only  a  blanket  fastened  in  front  by  a  skewer,  and  their 
hair  was  adorned  with  feathers.  There  were  two  ladies  and 
several  children  attached  to  the  deputation,  and  I  desired  the 
waiter  if  possible  to  induce  some  of  the  latter  to  pay  me  a  visit. 
One  evening  he  brought  in  two,  a  boy  and  a  girl.  The  girl's 
costume  consisted  of  a  sort  of  printed  bed-gown  without  sleeves, 
fastened  close  up  to  the  throat ;  trousers,  moccasins  or  leggins 
of  deerskin,  worn  generally  by  the  Indians,  and  the  whole 
covered  by  a  blanket,  the  drapery  of  which  she  really  managed 
with  a  good  deal  of  grace.  In  each  ear  she  wore  two  large  ear- 
rings. Fastened  to  the  crown  of  her  head  was  a  piece  of  blue 
ribband,  which  hung  down  not  unbecomingly  on  one  side  of 
the  face.  The  boy  was  apparently  younger  by  two  or  three 
years,  and  a  fine  manly  little  fellow.  He  also  wore  a  blanket 
by  way  of  Benjamin,  but  instead  of  a  bed-gown  rejoiced  in  a 
long  coat,  the  tails  of  which  reached  almost  to  his  heels,  and 
which,  being  made  for  some  one  of  form  and  dimensions  very 

*G.  A.  Baker,  Jr. 


HISTORIC  DRESS  IN  AMERICA 


405 


different,  was  not  remarkable  for  felicity  of  adaptation.  Neither 
could  speak  English,  but  the  boy  evidently  was  the  leading  per- 
son, the  girl  only  following  his  example.  Having  a  bottle  of 
claret  on  the  table,  I  filled  each  of  them  a  glass,  but  the  flavour 
did  not  seem  to  meet  with  their  approbation.  I  then  gave  them 
cigars  which  they  appeared  to  enjoy  ;  indeed  I  never  saw  any 
one  blow  a  cloud  with  greater  zest  than  the  young  lady.  The 
failure  of  the  claret  then  induced  me  to  try  the  effect  of  stronger 
potations,  and  I  brought  a  bottle  of  Eau  de  Cologne  from  my 
dressing  table,  the  contents  of  which  they  finished  without  diffi- 
culty or  apparent  inconvenience  from  the  strength  of  the  spirit. 
They  remained  with  me  about  half  an  hour,  during  the  whole 
of  which  time  they  maintained  the  sober  gravity  of  demeanour 
which  the  Indians  consider  to  be  inseparable  from  true  dignity. 
Nothing  seemed  to  excite  surprise,  and  the  only  symptom  of  an- 
imation they  displayed  was  on  catching  a  view  of  their  own 
countenances  in  a  mirror,  when  they  both  laughed.  At  length 
the  boy  rose  to  take  leave  followed  by  the  young  lady,  and 
shaking  hands  with  me  they  strode  out  of  the  apartment  with  a 
sort  of  barbaric  grace  which  well  became  these  children  of  the 
wilderness.  Before  quitting  the  subject  of  the  Indians  whose 
wild  appearance  had  excited  in  my  imagination  a  thousand  fan- 
tastic associations,  I  must  mention  one  circumstance  which  I 
found  sadly  hostile  to  their  poetical  interest.  One  morning  I 
observed  my  diplomatic  friends  lounging  and  walking  about  as 
usual  in  the  gallery  of  the  hotel,  but  alas,  how  miserably  trans- 
mogrified !  Their  '  Great  Father,'  the  President,  had,  it  ap- 
peared, preparatory  to  their  departure,  presented  each  person 
attached  to  the  Mission  with  a  new  coat,  in  shape  something 
like  that  worn  by  a  coachman,  and  of  blue  cloth  turned  up  at 
the  collar  and  cuffs  with  scarlet.  The  women  wore  cloaks  of 
the  same  colours  and  materials  and  my  two  little  friends,  whose 


406 


HISTORIC  DRESS  IN  AMERICA 


barbaric  appearance  had  been  delightful,  now  strutted  about  in 
their  new  finery  with  a  grand  air." 

From  this  strictly  American  costume  let  us  turn  to  matters 
of  dress  in  England,  and  read  the  graphic  descriptions  of  the 
apparel  worn  by  different  types  in  the  mother  country  from 
1836  to  1846,  given  by  Edmund  Yates  in  his  "  Recollections 
and  Experiences." 

"  Dandies  wore  high  collared  coats  and  roll  collared  waist- 
coats, short  in  the  waist ;  round  their  necks  were  high  stiff 
stocks  with  '  an  avalanche  of  satin  '  falling  over  the  chest,  and 
ornamented  with  a  large  pin  and  a  small  pin  connected  with  a 
thin  chain,  and  high  sharp-pointed,  almost  Gladstonian,  shirt 
collars.  No  gentleman  could  wear  anything  in  the  daytime 
but  Wellington  boots  (Figure  343),  high  up  in  the  leg,  over 
which  the  trousers  fitted  tightly,  covering  most  of  the  foot,  and 
secured  underneath  by  a  broad  strap.  The  great  coats  of  those 
days  were  no  misnomers ;  they  were  really  enormous  garments 
adorned  with  capes  and  deep  pockets  (Figure  364).  They  were 
Chesterfields,  Petershams,  Taglionis,  Sylphides,  and  well  I 
recollect  some  splendid  driving-coats  ornamented  with  enor- 
mous mother-of-pearl  buttons  as  big  as  crown-pieces,  with  pic- 
tures on  them  of  mail  coaches  going  full  speed,  which  were  ex- 
hibited to  admiring  crowds  in  the  tailor's  windows  in  Regent 
Street.  Afterwards  came  the  neat  paletot,  the  blanket-like 
poncho,  the  blue  pilot,  and  the  comfortable  Inverness.  Some 
old  gentlemen  wore  cloaks,  too,  in  my  youth,  and  I  have  a  dim 
recollection  of  one  kind  properly,  I  believe,  called  '  roquelaure  , 
(Figure  323),  but  known  to  the  London  public  as  a  '  rockelow.'  " 
The  latter  garment  was  a  survival  of  the  eighteenth  century,  il- 
lustrations of  which  are  given  in  the  earlier  volume  of  "  His- 
toric Dress." 

The  dress  of  the  men  of  this  time  (1836-1846)  can  be  studied 


HISTORIC  DEESS  IN  AMERICA 


in  the  illustrations  in  "  Nicholas  Nickleby  "  and  other  contem- 
porary publications. 

Mr.  Yates  gives  an  interesting  glimpse  of  personages  once 
familiar  in  the  streets  of  London  :  "  The  dustman  with  his  call 
'  Dust  O  ! '  and  his  ever-ringing  bell  ;  the  buy-a-broom  girl, 
with  her  Swiss  garb  and  jodling  voice;  the  thin  Turk,  turban- 
topped,  and  vending  rhubarb  from  a  tray  suspended  from  his 
neck  ;  the  Jew  boys  who  hung  about  the  coach-offices  with  their 
nets  of  lemons  and  oranges,  and  were  closely  elbowed  by  the 
peripatetic  cutler,  whose  knives  were  always  open  and  con- 
stantly being  polished  and  sharpened  on  a  tattered  leather 
glove.  Gone  is  the  bag-bearing  Jew  with  his  never-ceasing  cry 
of  '  Old  clo  !  clo  ! '  Gone  are  the  Quakers,  the  men  broad- 
brimmed,  shovel-hatted,  stiff-collared  and  gaitered  ;  the  women 
generally  pretty  with  hideous  bonnets  and  pretty  dove-coloured 
raiment.  Well  do  I  recollect  the  introduction,  simultaneously 
I  imagine,  of  the  handsome  cab,  then  called  '  patent-safety,' 
and  the  four-wheeler.  People  nowadays  will  smile  to  hear  that 
for  years  after  their  first  introduction  it  was  considered  '  fast ' 
to  ride  in  a  handsome,  and  its  use  was  tabooed  to  ladies.  Clean- 
shaven faces  were  uncommon  ;  a  pair  of  '  mutton  chop  '  whisk- 
ers was  de  rigeur ;  but  a  'pair  of  Moustachios,'  as  they  were 
called,  was  never  seen,  save  on  a  cavalry  officer,  a  dancing 
master,  or  a  'snob,'  and  the  cultivation  of  a  beard  was  wholly 
confined  to  foreigners." 

The  costume  of  the  policeman,  introduced  by  Sir  Robert 
Peel  in  1850,  is  described  in  the  same  volume  as  follows  : 
"  They  wore  swallow-tail  blue  coats  with  bright  metal  buttons, 
and  in  summer  white  duck  trousers  and  white  Berlin  gloves. 
In  lieu  of  helmet  they  had  an  ordinary  chimney-pot  hat,  only 
of  extra  strength  and  stiffness  and  with  a  glazed  oilskin  top." 
Further  details  are  not  given  by  Mr.  Yates,  but  we  are  left  to 


408 


HISTORIC  DRESS  IN  AMERICA 


infer  that  in  winter  the  English  guardians  of  the  peace  wore' 
blue  cloth  trousers,  and  in  summer  the  same  coat  was  worn 
with  the  duck  trousers.  We  are  left  quite  in  the  dark  about 
the  style  of  gloves  they  patronized  in  winter,  but  are  told  very 
decidedly  that  policemen  were  not  allowed  "  to  grow  either 
moustache  or  beard." 

Another  valuable  item  of  English  costume  is  given  in  the 
same  book.  "  The  general  or  country  postman  wore  a  scarlet 
swallow-tail  coat ;  the  '  two  penny  '  or  London  district  man  a 
blue  uniform  ;  a  collection  for  the  night  mails  was  made  at  five 
p.  m.  by  men  who  paraded  the  streets,  each  armed  with  a  bell, 
which  he  rang  lustily  ;  many  of  the  despatches  and  letters  from 
the  head  office  to  the  various  sub-offices  were  sent  by  horse-post, 
the  letters  being  enclosed  in  leather  valises  which  were  strapped 
behind  in  post-bags." 

Speaking  of  the  familiar  characters  in  the  streets  of  London 
about  1846,  Mr.  Yates  says  :  "  There  in  a  hooded  cabriolet,  the 
fashionable  vehicle  for  men-about-town,  with  an  enormous 
champing  horse  and  the  trimmest  of  tiny  grooms,  '  tigers '  as 
they  were  called,  half  standing  on  the  foot-board,  half  swinging 
in  the  air,  clinging  to  the  straps,  would  be  Count  d'Orsay,  with 
clear-cut  features  and  raven  hair,  the  king  of  the  dandies,  the 
cynosure  of  all  eyes,  the  greatest  swell  of  the  day.  He  was  an 
admirable  whip  and  always  drove  in  faultless  white  kid  gloves 
with  his  shirt  wrist-bands  turned  back  over  his  coat  cuffs  and 
his  whole  '  turn-out '  was  perfection.  By  his  side  was  occasion- 
ally seen  Prince  Louis  Napoleon,  an  exile  too,  after  his  escape 
from  Ham  residing  in  lodgings  in  King  Street." 

The  white  waistcoat  affected  by  Count  d'Orsay  and  other 
men  of  fashion  soon  became  very  popular.  "  Punch's  "  Muse 
immortalized  them  in  the  following  parody  on  the  "  Roast  Beef 
of  Old  England  "  : 


HISTORIC  DRESS  IN"  AMERICA 


409 


"Oh  !  the  vests  of  young  England  are  perfectly  white, 
And  they're  cut  very  neatly  and  sit  very  tight, 
And  they  serve  to  distinguish  our  young  Englishmen 
From  the  juvenile  Manners  and  Coningsby  Ben  ; 

Sing  Oh  !  the  white  vests  of  young  England 

And  Oh  !  the  young  English  white  vests. 

"  Now  the  old  English  vest  was  some  two  yards  about, 
For  old  England  was  rather  inclined  to  be  stout ; 
But  the  young  English  waist  is  extremely  compress' d, 
By  the  very  close  fit  of  the  young  English  vest. 
Sing  Oh !  etc. 

"  The  young  English  white  vest  upon  one  little  score, 
May  perhaps  be  considered  a  bit  of  a  bore, 
For  it  makes  the  resemblance  exceedingly  near  ' 
Twixt  the  young  English  waiter  and  young  English  Peer. 
Sing  Oh  !  etc. 

"But  what  are  the  odds  as  concerning  the  vest, 
So  long  as  felicity  reigns  in  the  breast  f 
Aud  young  England  to  wear  what  it  pleases  may  claim 
Let  us  hope  all  the  tailors  are  paid  for  the  same. 
Sing  Oh  !  etc." 

Count  d'Orsay,  of  whom  Mr.  Yates  has  given  us  such  a 
vivid  description,  was  an  artist  by  profession,  and  is  said  to 
have  painted  the  last  portrait  of  the  Duke  of  Wellington.  He 
settled  in  England  in  1821  and  assisted  the  Countess  of  Bless- 
ington  to  establish  a  fashionable  coterie  in  London  in  that  year. 
Bernard  Osborne  describes  him  riding  in  Hyde  Park  : 

"  Patting  the  crest  of  his  well-managed  steed, 
Proud  of  his  action,  D'Orsay  vaunts  the  breed  ; 
A  coat  of  chocolate,  a  vest  of  snow, 
Well  brushed  his  whiskers,  as  his  boots  below, 
A  short-napped  beaver,  prodigal  in  brim, 
With  trousers  tighten'd  to  a  well-turned  limb."  * 


A  manual  of  etiquette  published  by  him  about  that  time  con- 
tains the  following  precepts  for  the  guidance  of  men  of  fashion : 

*  The  Chan ut  of  Achilles. 


1810-1869 

Figure  350. — 1840 — Plaid  stock  and  waistcoat.  Portrait  of  Baron  Stock  - 
mar. 

Figure  351. — 1840 — Quaker  gentleman.    From  a  Daguerreotype. 

Figure  352. — 1844 — Hair  parted  in  the  middle;  plaid  waistcoat.  Da- 
guerreotype of  James  Bussell  Lowell. 

Figure  353. — 1845 — Clerical  dress.    Portrait  of  Eev.  William  Chalmers. 

Figure  354. — 1821 — Eobes  of  a  chief  justice  of  the  U.  S.  Portrait  of  John 
Marshall. 

Figure  355. — 1865 — Clerical  dress.    Portrait  of  Eev.  Henry  J.  Morton. 
Figure  356. — 1869 — Frock  coat  and  standing  collar. 
Figure  357. — 1810— Bishop's  dress. 
Figure  358.— 1855— Close-fitting  coat. 


HISTORIC  DRESS  IN  AMERICA 


413 


"  It  is  bad  taste  to  dress  in  the  extreme  of  fashion  and  in 
general  those  only  do  so  who  have  no  other  claim  to  distinction  ; 
leave  it  in  these  times  to  shopmen  and  pickpockets.  There  are 
certain  occasions,  however,  when  you  may  dress  as  gayly  as  you 
please,  observing  the  axiom  of  the  ancient  poet  to  be  '  great  on 
great  occasions.'  The  great  points  are  well  made  shoes,  clean 
gloves,  a  white  pocket  handkerchief,  and  above  all  an  easy  and 
graceful  deportment.  Never  affect  the  ruffianly  style  of  dress 
unless  as  some  excuse  you  hold  a  brilliant  position  in  society. 
Always  wear  gloves  in  church  or  in  a  theatre.  Avoid  wearing 
jewelry  unless  it  be  in  very  good  taste  and  then  only  at  proper 
occasions.  Never  leave  your  hat  in  the  hall  when  you  pay  a 
morning  visit,  it  makes  you  look  too  much  at  home,  take  it  with 
you  into  the  room."  Hints  on  the  art  of  dancing,  card  playing 
and  every  form  of  social  amusement  are  given  in  this  little 
pamphlet  which  is  now  almost  forgotten.  A  picture  of  the 
author  will  be  seen  in  Figure  321,  copied  from  Maclise's  portrait 
gallery. 

On  the  subject  of  hats  the  following  anecdote  appeared  in  the 
columns  of  "  Blackwood's  Magazine  "  in  1841  : 

"  There  is  a  great  deal  in  the  build  and  wearing  of  hats,  a 
great  deal  more  than  at  first  meets  the  eye.  I  know  a  man  who 
in  a  particular  hat  looked  so  extraordinarily  like  a  man  of 
property  that  no  tradesman  on  earth  could  refuse  to  give  him 
credit.  It  was  one  of  Andre's,  and  cost  a  guinea  and  a  half  in 
ready  money,  but  the  person  in  question  was  frightened  at  the 
enormous  charge  and  afterwards  purchased  beavers  in  the  city 
at  the  cost  of  seventeen-and-sixpence,  and  what  was  the  con- 
sequence ?  He  fell  off  in  public  estimation,  and  very  soon  after 
he  came  out  in  his  city  hat  it  began  to  be  whispered  abroad 
that  he  was  a  ruined  man."  It  is  a  good  story  although  the 
moral  is  hardly  commendable. 


Men's  Apparel 

1850-1 870 

"  The  coat  is  the  expression  of  the  man." 

T  is  all  nonsense  to  undervalue  dress ;  I'm 
no  more  the  same  man  in  my  dark  green 
paletot,  trimmed  with  astrakan,  that  I 
was  a  month  ago  in  my  fustian  shooting- 
jacket,  than  a  well  plumed  eagle  is  like  a 
half  moulted  turkey.  There  is  an  inde- 
scribable connection  between  your  coat 
and  your  character  ;  and  few  things  so 
react  on  the  morality  of  a  man  as  the  cut 
of  his  trousers,"  wrote  James  Dodd,  ac- 
cording to  Lever,  to  his  friend  Robert  Doolan  during  his  travels 
abroad,  which  were  published  early  in  the  fifties,  a  period  char- 
acterized by  rather  gay  attire  in  the  masculine  world. 

An  American  writer  mentions  that  "jewels  were  conspicuous 
in  men's  dressing  and  gentlemen  of  fashion  were  rare  who  did 
not  have  varieties  of  sparkling  studs  and  scarf  pins  to  add  to  the 
brightness  of  their  vari-coloured  vests.  The  latter  not  infre- 
quently were  of  the  richest  satin  and  velvet,  brocaded  or  em- 
broidered. They  lent  a  desirable  note  of  colour  by  means  incon- 
spicuous to  the  swallow-tailed  evening  dress  of  that  time,  a  note 
by  the  by  which  was  supplemented  by  a  tie  of  bright  soft 
silk  and  of  ample  proportions.  President  Buchanan  was  re- 
markable for  his  undeviating  choice  of  pure  white  cravats." 
But  we  are  anticipating ;  the  administration  of  Buchanan  began 
in  1857. 

414 


HISTORIC  DRESS  IN  AMERICA 


415 


From  the  letters  of  our  great  historian,  Prescott,  written  dur- 
ing his  visit  to  England  in  1850,  we  glean  many  interesting 
items  of  dress.  Although  a  private  citizen  and  not  connected 
in  any  way  with  the  Embassy,  he  was  constrained  to  wear  a  reg- 
ulation costume  at  the  Court  of  Queen  Victoria.  He  describes 
his  presentation  in  a  letter  to  his  wife  : 

"  I  was  at  Lawrence's  *  at  one,  in  my  costume,  a  chapeau 
with  gold  lace,  blue  coat  and  white  trousers,  begilded  with  but- 
tons and  metal  (the  coat  buttons  up  single-breasted  to  the 
throat),  a  sword  and  patent  leather  boots.  I  was  a  figure  in- 
deed, but  I  had  enough  to  keep  me  in  countenance."  This 
costume  is  not  unlike  the  suit  of  an  attache  of  legation  in  1840 
shown  in  Figure  369  which  is  taken  from  a  coat  worn  by 
Robert  H.  Hale,  Esq.,  of  Philadelphia,  when  he  accompanied 
the  Minister  of  the  United  States  to  St.  Petersburg. 

In  another  letter,  to  Mr.  Ticknor,  Mr.  Prescott  says  :  "  Do 
you  know  I  have  become  a  courtier  and  affect  the  Royal  Pres- 
ence? I  wish  you  could  see  my  gallant  costume,  gold  laced 
coat,  white  inexpressibles,  silk  hose,  gold  buckled  patent  leather 
slippers."  This  letter  is  dated  June  26th,  and  the  knee- 
breeches  were  probably  de  rigeur  for  a  ball.  Later  in  the  same 
season  he  writes  to  Mr.  Ticknor  of  the  degree  bestowed  on  him 
at  Oxford. 

"  On  Monday  morning  our  party  at  the  Bishop's  went  to 
Oxford  where  Lord  Northampton  and  I  were  Doctorized  in  due 
form.  We  were  both  dressed  in  flaming  red  robes  (it  was  the 
hottest  day  I  have  felt  here)  and  then  marched  out  in  solemn 
procession  with  the  Faculty,  etc.,  in  black  and  red  gowns 
through  the  street,  looking,  that  is,  we,  like  the  victims  of  an 
auto  da  ft;  though  I  believe  on  second  thoughts  the  San  Benito 
was  yellow." 

*  Amos  Lawrence,  Minister  from  the  United  Statea  to  England. 


410 


IIISTOEIC  DRESS  IN  AMERICA 


To  Mrs.  Prescott  (August  24,  1850)  he  writes  of  his  visit  to 
Lord  Carlisle  at  Naworth  Castle. 

"  This  is  a  fine  old  place  of  the  feudal  times  indeed.  In  the 
afternoon  we  arrived  and  saw  the  banners  of  the  Howards  and 
Dacres  flying  from  its  battlements,  telling  us  that  its  lord  was 
there.  He  came  out  to  greet  us,  dressed  in  his  travelling  garb, 
for  he  had  just  arrived,  with  his  Scotch  shawl  twisted  about 
him." 

A  travelling  shawl  of  this  description  is  shown  in  Figure 
325.  It  was  a  favourite  garment  in  the  fifties,  being  worn  in 
place  of  a  top-coat. 

A  few  days  later,  while  a  guest  of  Lord  Carlisle  at  Castle 
Naworth,  Mr.  Prescott  described  to  Mrs.  Prescott  the  visit  of 
Queen  Victoria  and  Prince  Albert  : 

"  August  28th,  Wednesday.  The  Queen,  etc.,  arrived  yes- 
terday in  a  pelting  rain,  with  an  escort  of  cavalry,  a  pretty  sight 
to  those  under  cover.  Crowds  of  loyal  subjects  were  in  the  park 
in  front  of  the  house  to  greet  her.  They  must  have  come  miles 
in  the  rain.  She  came  into  the  hall  in  a  plain  travelling  dress, 
bowing  very  gracefully  to  all  there,  and  then  to  her  apartments, 
which  occupy  the  front  of  the  building.  At  eight  we  went  to 
dinner,  all  in  full  dress,  but  mourning  for  the  Duke  of  Cam- 
bridge ;  I,  of  course,  for  President  Taylor !  All  wore  breeches 
or  tight  pantaloons.  It  was  a  brilliant  show.  I  assure  you,  that 
immense  table,  with  its  fruits  and  flowers  and  lights  glancing 
over  beautiful  plate  in  that  superb  gallery  I  was  as  near  the 
Queen  as  at  our  own  family  table.  She  has  a  good  appetite,  and 
laughs  merrily.  She  has  fine  eyes  and  teeth,  but  is  short.  She 
was  dressed  in  black  silk  and  lace  with  the  blue  scarf  of  the 
Order  of  the  Garter  across  her  bosom.  Her  only  ornaments 
were  of  jet.  The  Prince,  who  is  certainly  a  handsome  and  very 
well  made  man,  wore  the  Garter  with  its  brilliant  buckle  round 


HISTORIC  DRESS  IN  AMERICA 


his  knee,  a  showy  star  on  his  breast,  and  the  collar  of  a  foreign 
order  round  his  neck.  Dinner  went  off  very  well,  except  that 
we  had  no  music,  a  tribute  to  Louis  Philippe  at  the  Queen's  re- 
quest." 

During  the  administration  of  President  Pierce,  William 
Marcy  was  Secretary  of  State,  and  unfortunately  assumed  charge 
of  the  department  with  the  intention  of  enforcing  his  plain 
democratic  ideas  upon  the  representatives  of  our  country  at  for- 
eign courts.  Almost  the  first  question  he  took  up,  we  are  told 
in  Rhodes'  "  History  of  the  United  States,"  was  that  of  diplo- 
matic costumes.  From  the  time  of  our  mission  to  Ghent  until 
President  Jackson's  day,  "  the  dress  informally  or  officially 
recommended  was  a  blue  coat  lined  with  white  silk  ;  straight 
standing  cape  embroidered  with  gold,  buttons  plain  or  if  they 
can  be  had  with  an  eagle  stamped  upon  them,  cuffs  embroidered 
in  the  manner  of  the  cape,  white  cassimere  breeches  with  gold 
knee  buckles  and  white  silk  stockings  and  gold  or  gilt  shoe 
buckles.  A  three-cornered  chapeau  bras,  a  black  cockade  to 
which  an  eagle  had  been  attached.  Sword,  etc.  On  gala  days 
the  uniforms  should  be  made  more  splendid  with  embroidery 
and  hat  decorated  with  a  white  ostrich  feather."  Under  the 
strictly  democratic  administration  of  President  Jackson  some 
changes  were  suggested  in  the  diplomatic  dress  in  the  line  of 
cheapness  and  adaptability  to  the  simplicity  of  our  institutions. 
A  black  coat  without  a  cape  and  a  gold  star  affixed  on  each  side 
of  the  collar,  either  black  or  white  breeches,  chapeau' bras  with 
cockade  and  sword  were  retained. 

Mrs.  Clay,  who  was  living  in  Washington  at  this  time,  says  : 
"  The  consequences  of  Mr.  Marcy's  meddling  were  far-reaching. 
On  June  1,  1853,  he  issued  a  circular  recommending  that  our 
representatives  abroad  should,  in  order  to  show  their  devotion 
to  republican  institutions,  appear  whenever  practicable  in  the 


41b 


HISTORIC  DRESS  IX  AMERICA 


simple  dress  of  an  American  citizen.  Our  Minister  at  Berne 
found  the  Court  of  Switzerland  quite  willing  to  receive  him  in 
his  citizen's  dress.  The  Ministers  at  Turin  and  Brussels  re- 
ported they  would  have  no  difficulty  in  carrying  out  the  in- 
structions of  the  State  Department.  The  representative  at  Ber- 
lin was  at  once  informed  that  such  action  would  be  considered 
disrespectful.  The  King  of  Sweden  insisted  on  court  dress  at 
social  functions.  Mr.  August  Belmont,  at  the  Hague,  received 
a  cold  permission  from  the  king  to  dress  as  he  pleased,  and  it  is 
recorded  (as  matter  for  gratitude  on  the  part  of  the  American 
Minister)  that  after  all,  and  notwithstanding,  the  queen  actually 
danced  with  him  in  his  citizen's  dress,  and  the  king  conde- 
scended to  shake  him  by  the  hand  and  to  talk  with  him  !  Mr. 
Mason,  at  the  French  Court,  could  not  face  the  music !  He  con- 
sulted his  wife,  and  together  they  agreed  upon  a  compromise. 
He  appeared  in  an  embroidered  coat,  sword,  and  cocked  hatr 
and  had  the  misfortune  to  receive  from  Mr.  Marcy  a  severe  re- 
buke. Mr.  Buchanan,  at  the  Court  of  St.  James,  having  no  wife 
to  consult,  thought  long  and  anxiously  on  the  subject.  The  ques- 
tion was  still  unsettled  at  the  opening  of  Parliament  in  Febru- 
ary, 1854.  Our  Minister  did  not  attend — he  had  '  nothing  to 
wear,'  whereupon  '  there  was  quite  a  sensation  in  the  House  of 
Lords.'  '  Indeed,'  he  wrote  to  Mr.  Marcy,  '  I  have  found  diffi- 
culty in  preventing  this  incident  from  becoming  a  subject  of  in- 
quiry and  remark  in  the  House  of  Commons.'  Think  of  that  f 
At  a  time  when  England  was  on  the  eve  of  war  with  Russia,  all 
the  newspapers,  court  officials,  House  of  Commons,  exercised 
about  the  dress  of  the  American  Minister  !  The  London  'Times ' 
stated  that  on  a  diplomatic  occasion  '  the  American  Minister 
sate  unpleasantly  conscious  of  his  singularity.'  Poor  Mr. 
Buchanan,  sorely  pressed,  conceived  the  idea  of  costuming  him- 
self like  General  Washington,  and  to  that  end  examined  Stuart's 


HISTORIC  DRESS  IJST  AMERICA 


portrait.  He  may  even  have  gone  so  far  as  to  indulge  in  a  pri- 
vate rehearsal,  queue,  powdered  wig,  and  all ;  but  he  seems  to 
have  perceived  he  would  only  make  himself  ridiculous ;  so  he 
took  his  life  in  his  hands,  and,  brave  gentleman  as  he  was,  ap- 
peared at  the  queen's  levee  in  the  dress  of  an  American  citizen  ; 
and  she,  true  lady  as  she  was,  settled  the  matter,  for  her  court 
at  least,  by  receiving  him  as  she  did  all  others.  Mr.  Buchanan 
wrote  to  his  niece,  Miss  Harriet  Lane,  '  I  wore  a  sword  to  gratify 
those  who  yielded  so  much,  and  to  distinguish  me  from  the  up- 
per court  servants.'  Mr.  Soule,  at  the  Court  of  Madrid,  adopted 
the  costume  of  Benjamin  Franklin  at  the  Court  of  Louis  XVI, 
sword,  chapeau,  black  velvet,  and  much  embroidery,  looking 
'  with  his  black  eyes,  black  looks  and  pale  complexion,  less  like 
the  philosopher  whose  costume  he  imitated,  than  the  master  of 
Ravenswood.'  There  had  been  a  lively  discussion  among  the 
Austrian  and  Mexican  Ministers  and  the  Countess  of  Montijo, 
the  mother  of  the  Empress  Eugenia  and  of  the  Duchess  of  Alba, 
whether  or  no  he  should  be  rejected  ;  but  Mr.  Soule  did  not 
know  this.  The  queen  received  him,  he  wrote  to  Mr.  Marcy, 
'  with  marked  attention  and  courtesy.'  " 

As  we  shall  see  later  the  reformed  diplomatic  costume  was 
dropped  when  a  new  Secretary  of  State  came  into  office,  who 
wisely  considered  it  a  matter  of  courtesy,  not  of  state. 

From  "  Things  as  They  Are  in  America,"  an  interesting  book 
of  travel  in  1854,  we  quote  the  following  description  of  a  visit 
to  Congress. 

"  The  House  was  full.  Representatives  from  California  and 
other  distant  states  were  already  present — the  whole  assemblage 
forming  a  body  of  well-dressed  persons,  such  as  you  would  see 
any  day  on  '  'Change.'  There  was  little  diversity  of  costume. 
A  black  dress  coat,  black  satin  waistcoat,  and  black  stock,  con- 
stitute the  general  attire — ready  for  court,  dinner,  ball,  public 


1801-1860 

Figure  359. — 1801 — Gentleman  in  riding  costume.    From  a  print. 
Figure  360. — 1804 — Picture  of  Beau  Brummell  in  his  youth.    From  Jesse's 
Biography. 

Figure  361. — 1806 —Gentleman  in  fashionable  morning  suit.    From  a  con- 
temporary print. 

Figure  362. — 1810 — An  English  clergyman  of  1810  and  after.    From  a 

contemporary  print. 
Figure  363. — 1812 — Burned  shirt  and  linen  pantaloons  buttoned  up  to  the 

knee. 

Figure  364. — 1829— Gentleman  in  great  coat.    From  a  print. 
Figure  365. — 1830 — A  fashionable  morning  suit  of  1830  and  after. 
Figure  366. — 1833 — Hunting  dress.    From  a  print. 

Figure  367. — 1830 — White  kerseymere  waistcoat,  plaited  shirt,  white  stock 

and  blue  coat.    From  a  plate. 
Figure  368. — 1837 — Waistcoat  of  cream  coloured  cashmere  ;  coat  of  dark 

blue  cloth  ;  white  cascade  necktie. 
Figure  369. — 1842 — Gentleman  in  diplomatic  dress. 

Figure  370. — 1850-60 — Gentleman  in  hunting  costume.    From  a  con- 
temporary print. 

Figure  371. — 1850 — A  university  student  in  1850,  showing  panama  hat 
From  a  contemporary  print. 


HISTORIC  DRESS  IN  AMERICA 


423 


meeting,  or  anything.  A  few  wore  beards,  but  clean  shaving 
was  the  rale.  Standing,  sitting,  lounging,  talking,  according  to 
fancy,  they  spent  the  time  till  noon.  The  moment  the  hands  of 
the  clock  point  to  twelve,  said  my  friend,  '  Business  will  com- 
mence.' A  clerk,  seated  in  advance,  and  a  little  below  the  va- 
cant chair  of  the  Speaker,  kept  his  eye  fixed  on  a  clock  over  the 
doorway,  and  accordingly  rang  the  bell  when  the  hour  of  noon 
was  indicated." 

Cutaway  coats  were  known  by  various  names,  such  as  swal- 
low-tail, claw-hammer,  and  steel-pen.  Before  1860  they  were 
worn  in  morning  as  well  as  evening  dress,  and  always  had  large 
pockets  in  the  tails.  A  story  is  told  of  a  Pennsylvania  architect 
who  went  to  Philadelphia  on  business  carrying  in  his  tail 
pocket  a  packet  of  plans  and  specifications.  He  had  occasion  to 
cross  the  river  in  a  ferry-boat  from  Camden,  and  on  arriving  at 
his  destination  put  his  hand  in  the  place  where  his  pocket 
should  have  been  to  take  out  the  plans,  but  alas,  papers,  pocket 
and  even  the  coat  tail  had  been  cut  off  by  a  venturesome  thief 
in  the  crowd  on  the  ferry  landing.  The  first  lesson  in  the  art 
of  pocket-picking,  as  taught  by  Fagan  in  "  Oliver  Twist,"  was  to 
snatch  the  handkerchiefs  and  sn'ufF-boxes  from  the  tail  pockets 
of  unwary  gentlemen  in  the  street.  It  was  even  an  easier  ac- 
complishment than  carrying  off  reticules  from  the  ladies. 

White  and  cream-coloured  waistcoats  were  very  fashionable 
in  the  fifties.  One  of  cream-coloured  silk,  wadded  and  lined 
with  white  and  fastened  with  gilt  buttons,  worn  in  Philadelphia 
in  1857,  is  illustrated  in  Figure  335. 

It  was  in  1860  that  the  Prince  of  Wales,  afterwards  King 
Edward  VII,  visited  the  United  States  and  was  feted  and  en- 
tertained in  all  the  large  cities.  At  the  ball  given  in  his 
honour  in  New  York  an  alarming  accident  happened  :  a  part 
of  the  dancing  floor  gave  way.    No  one  was  hurt,  however, 


4:24: 


HISTORIC  DRESS  IN  AMERICA 


and  the  progress  of  his  Royal  Highness  through  the  country 
was  enthusiastically  hailed  on  every  side,  and  the  popular  feel- 
ing of  attachment  to  the  mother  country  was  strengthened 
thereby. 

"While  the  manners,  while  the  arts, 
That  mould  a  nation's  soul, 
Still  cling  around  our  hearts, 
Between  let  ocean  roll, 

Our  joint  communion  breaking  with  the  sun, 
Yet  still  from  either  breach, 
The  voice  of  blood  shall  reach, 
More  audible  than  speech  : 
'  We  are  one.'  "  * 

The  fashions  of  the  sixties  are  familiar  to  every  one  through 
the  medium  of  photography.  The  small  cartes  de  visiles,  as 
they  were  called,  which  were  very  popular  in  1860  to  1870,  show 
long  black  shiny  broadcloth  frock  coats,  rather  loose  pantaloons 
and  careless  neckties.  The  colours  were  universally  sober.  The 
hair  was  worn  rather  short  than  long  and  beards  and  whiskers 
and  moustaches  were  all  popular.  In  Washington  of  course,  as 
in  all  the  capitals  of  Europe,  with  military  and  naval  uniforms 
and  the  costumes  of  the  foreign  diplomats,  a  variety  and  con- 
trast was  noticeable.  A  diplomatic  costume  was  considered 
necessary  for  the  representatives  of  the  United  States  govern- 
ment in  1861. 

In  Carl  Schurz's  "  Reminiscences  "  he  narrates  the  embar- 
rassing position  he  was  placed  in  at  the  Court  of  Spain,  where 
he  arrived  without  the  diplomatic  dress  which  he  had  ordered 
in  Paris.  By  special  concession  of  the  Queen,  he  was  permitted 
to  present  his  credentials  in  ordinary  evening  dress,  but 
was  stopped  at  the  foot  of  the  staircase  by  two  halberdiers  in 
gorgeous  mediaeval  costume  who  were  guarding  the  passage  to 

*  W.  Allston. 


HISTOEIC  DRESS  IN  AMERICA 


425 


the  rooms  of  state.  Evidently  fearing  the  dignity  of  the  Span- 
ish throne  was  at  stake,  they  crossed  their  halberds  and  refused 
to  let  him  pass.  Finally  a  high  official  at  the  Court  was  ap- 
pealed to  and  through  his  intercession  admission  was  gained  to 
the  Queen's  presence.  The  delayed  uniform  consisted  of  "  a 
richly  embroidered  dress-coat,  with  correspondingly  ornamented 
trousers,  a  cocked  hat  and  a  dress  sword." 

Ugly  as  men's  clothes  of  this  period  were,  a  great  deal  of  at- 
tention was  bestowed  on  them  everywhere.  Poole,  the  cele- 
brated English  tailor,  is  said  to  have  been  accidentally  discovered 
by  King  Edward  VII  while  he  was  Prince  of  Wales.  One  night 
when  the  French  actor,  Fechter,  was  playing  "  Robert  Maeaire" 
in  a  coat  apparently  of  rents  and  patches,  the  Prince  was  look- 
ing on  and  we  are  told  "  his  keen  eye  quickly  noted  that  the 
garment  was  singularly  well  cut.  After  the  play,  the  Prince 
sent  for  Fechter  and  asked  him  the  name  of  his  tailor,  and 
the  next  day  sent  for  Mr.  Poole  who  from  that  hour  was  a 
made  man." 

Looking  backward  at  the  pictures  of  the  thirties  and 
forties  we  must  at  least  acknowledge  that  there  was  something 
wholesomely  virile  about  these  later  day  fashions  for  men.  The 
small  waists,  the  tight  sleeves  and  close-fitting  pantaloons  were 
effeminate  in  comparison. 

Like  his  predecessor,  George  IV,  when  Prince  of  Wales, 
King  Edward  was  called  the  best  dressed  man  in  Europe,  and 
although  he  is  universally  acknowledged  to  have  been  the 
greatest  statesman  of  his  day,  he  never  lost  his  earlier  prestige 
as  the  "  glass  of  fashion  and  the  mould  of  form  "  for  men  of 
English  birth.  We  learn  on  the  best  authority  that  it  was  eti- 
quette in  England  for  men  of  fashion  to  follow  the  Prince's 
lead  in  the  matter  of  hats  at  race  meetings  and  "  until  his 
Majesty  one  year  appeared  at  Goodwood  in  a  round  hat,  no  one 


426  HISTORIC  DRESS  IN  AMERICA 

ever  dreamed  even  in  the  hottest  weather  of  attending  these 
races  save  in  a  silk  hat  and  a  frock  coat.  But  luckily  for  the 
world  at  large  the  Prince's  popularity  and  good  sense  broke 
through  old-world  prejudices  and  now  a  hot  summer  afternoon 
sees  Goodwood  Park  dotted  with  men  in  blue  serge,  white  duck, 
and  flannel  suits,  and  the  lightest  and  shadiest  of  straw  hats." 

Suitable  summer  costumes  have  become  a  necessity  in 
America,  and  are  certainly  much  more  becoming  than  the 
thick  winter-like  clothing  of  the  sixties. 

In  the  first  half  of  the  nineteenth  century  stage  traditions 
were  strongly  adhered  to  in  costume.  We  have  already  men- 
tioned Mrs.  Kemble's  dress  when  she  made  her  debut  in 
"  Juliet."  In  the  Memoirs  of  Lester  Wallack  we  find  an 
amusing  instance  of  the  strong  prejudice  cherished  by  stage- 
managers  at  that  date  against  what  they  termed  innovations. 

"  My  father  was  cast  for  the  part  of  Tressel  in  Cibber's  ver- 
sion of  '  Richard  III.'  Tressel  is  the  youthful  messenger  who 
conveys  to  the  King  Henry  VI  the  news  of  the  murder  of  his 
son  after  the  battle  of  Tewkesbury.  My  father,  a  young  am- 
bitious actor,  came  on  with  the  feather  hanging  from  his  cap  all 
wet,  his  hair  dishevelled,  one  boot  torn  nearly  off,  one  spur 
broken,  the  other  gone  entirely,  his  gauntlet  stained  with  blood 
and  his  sword  snapped  in  twain,  at  which  old  Wewitzer,  who 
was  the  manager  and  had  been  a  manager  before  my  father  was 
born,  was  perfectly  shocked.  It  was  too  late  to  do  anything, 
but  the  next  morning  Wewitzer  sent  for  him  to  come  to  his 
office  and  addressed  him  thus  :  '  Young  man,  how  do  you  hope 
to  get  on  in  your  profession  by  deliberately  breaking  all  prec- 
edent? What  will  become  of  the  profession  if  mere  boys  are 
allowed  to  take  these  liberties?  Why,  sir,  you  should  have  en- 
tered in  a  suit  of  decent  black  with  silk  stockings  on  and  with 
a  white  handkerchief  in  your  hand.'    '  What,  after  defeat  and 


HISTORIC  DRESS  IN  AMERICA 


427 


flight  in  battle?'  interrupted  my  father.  'That  has  nothing  at 
all  to  do  with  it,'  was  the  reply,  '  the  proprieties,  Sir !  the  pro- 
prieties ! '  Some  of  the  papers  spoke  very  highly  of  the  innova- 
tion, and  the  audience  was  satisfied  if  the  management  was 
not." 

The  hero  of  this  anecdote,  James  Wallack,  was  a  noted  actor 
in  London  from  1804  to  1845,  after  which  date  he  settled  in 
New  York  and  became  known  as  the  manager  of  Wallack's 
theatre  from  1852  to  1864. 

The  colour  harmonies  and  stage  pictures  to  which  we  are 
nowadays  accustomed  came  in  with  the  aesthetic  movement  in 
1860.  The  success  of  a  modern  play  depends  greatly  upon  the 
artistic  taste  of  the  stage-manager,  who  is  chiefly  responsible  for 
the  subtle  effects  of  light  and  the  combinations  of  colour  which 
contribute  largely  to  the  pleasure  of  the  audiences  and  render 
them  less  critical  of  the  histrionic  achievements  of  the  actors. 
In  the  earlier  days,  however,  very  little  mention  is  made  in  the 
press  criticisms  of  the  scenery  or  costumes,  while  every  word 
and  gesture  of  the  actors  is  ardently  described. 

"  Brief  as  'tis  brilliant,  the  Actor's  fame 

With  the  spectator's  memory  lives  and  dies  ; 
Oat  of  the  witness  of  men's  ears  and  eyes, 
The  Actor  is  a  name. 

"  Yet  some  so  much  have  stirred  the  common  heart 
That,  when  they  long  have  past  from  sight,  we  find 
Memories,  which  seem  undying,  left  behind 
Of  their  so  potent  art."  * 

CLERGYMEN'S  DRESS 

Before  1830  a  Clergyman  of  the  English  Church  dressed 
usually  in  a  suit  of  black  broadcloth  and  wore  a  black  or  white 

*To  the  Memory  of  Charles  Kemble,  Punch,  1854. 


4L'S 


HISTORIC  DRESS  IN  AMERICA 


stock  according  to  his  preference.  His  costume  betokened  the 
college  graduate  of  genial  disposition  and  liberal  views.  His 
profession  did  not  forbid  his  mingling  in  the  pleasures  of  the 
world  when  opportunity  offered,  but  a  simple  domestic  life  in  a 
rural  parish,  where  but  little  thought  was  given  to  discussions 
of  dogma,  was  generally  his  lot.  In  the  pulpit  he  wore  the 
black  academic  gown  as  his  predecessors  of  the  eighteenth  cen- 
tury had  done  before  him,  and  read  the  service  in  a  white  sur- 
plice, which  is  still  customary.  The  black  gown  was  worn  in 
the  pulpit  in  some  remote  parts  of  the  country  as  late  as  1870. 
A  Clergyman  of  the  English  Church  is  illustrated  in  Figure  362, 
copied  from  a  print  of  1810,  when  knee-breeches  were  still  worn. 
It  will  be  noticed  that  the  coat  is  made  with  comparatively 
short  tails  and  is  not  cut  away  in  front. 

The  Ritualistic  movement  in  the  Church  of  England  effected 
a  revival  of  the  vestments  worn  during  the  reign  of  Edward  VI. 
The  change,  however,  was  not  noticed  in  America  before  1860. 
Until  that  date  the  black  Geneva  gown  had  been  worn  in  the 
pulpit  by  Episcopalians,  and  the  white  surplice  with  a  black 
stole  and  bands  of  sheerest  lawn  were  considered  indispensable 
adjuncts  to  clerical  dress.  The  High  Church  party  had  been 
very  much  in  the  minority  up  to  that  date  and  the  changes 
were  very  gradually  introduced  on  this  side  of  the  ocean. 

Bishops  wore  then,  as  they  do  now,  the  white  linen  rochet 
resembling  the  surplice,  but  with  less  full  sleeves,  the  black 
satin  chimere  or  outer  robe,  with  lawn  sleeves,  and  black  stole. 
There  is  a  picture  of  the  General  Convention  of  1859  assembled 
at  Richmond,  Virginia,  which  contains  portraits  of  forty-one 
bishops  of  the  Church  in  America.  In  this  group  Bishop  Hop- 
kinson  is  a  noticeable  figure,  on  account  of  his  independence  of 
established  custom.  Instead  of  the  usual  Bishop's  sleeves  held 
in  at  the  wrist  by  a  black  band  of  ribbon,  he  adopted  the  open 


HISTORIC  DRESS  W  AMERICA 


429 


sleeves  of  a  priest's  surplice.  He  was  also  the  only  member  of 
the  Episcopal  Bench  who  wore  a  moustache  and  a  flowing- 
beard,  although  many  of  his  brother  bishops  wore  side  whiskers. 

Other  Protestant  denominations,  Lutherans,  Methodists  and 
Presbyterians,  all  wore  the  black  gown  throughout  the  entire 
church  service. 

It  is  not  necessary  to  describe  the  vestments  worn  in  the 
Roman  Catholic  Church,  as  they  have  never  changed,  and  have 
often  been  depicted. 

In  the  street,  clergymen  of  all  ranks  and  denominations 
wore  nothing  more  distinctive  than  an  ordinary  frock  suit  of 
black  broadcloth  and  a  white  or  black  necktie.  Trollope  says 
of  Mr.  Harding,  "  He  always  wears  a  black  frock  coat,  black 
knee-breeches  and  black  gaiters,  and  somewhat  scandalizes 
some  of  his  more  hyper-clerical  brethren  by  a  black  neck-hand- 
kerchief ; "  and  of  that  imposing  dignitary,  the  Church  Arch- 
deacon, Grantly,  "  Tis  only  when  he  has  exchanged  that  ever- 
new  shovel-hat  for  a  tasselled  nightcap  and  those  shining  black 
habiliments  for  his  accustomed  robe  de  nuit  that  Dr.  Grantly 
talks  and  looks  and  thinks  like  an  ordinary  man.  A  dean  or 
archbishop  in  the  garb  of  his  order  is  sure  of  our  reverence  ;  and 
a  well-got-up  bishop  fills  our  very  souls  with  awe.  But  how 
can  this  feeling  be  perpetuated  in  the  bosom  of  those  who  see 
the  bishops  without  their  aprons  and  the  archdeacons  even  in  a 
lower  state  of  dishabille." 

Trollope's  graphic  pictures  of  English  churchmen  in  the 
fifties  are  undoubtedly  drawn  from  life,  and  numerous  illustra- 
tions of  the  bishops'  aprons,  the  shovel  hats,  the  gaiters,  and 
other  articles  of  clerical  attire  of  that  period  will  be  seen  in  the 
pages  of  "  Punch."  "  The  Warden,"  etc.,  was  published  in  1855, 
and  we  venture  to  say  that  clerical  breeches  and  gaiters  were 
quite  unknown  in  the  United  States  at  that  time. 


430 


HISTORIC  DRESS  IN  AMERICA 


Figure  355,  the  portrait  of  a  distinguished  clergyman  of  the 
Episcopal  Church  in  America,  the  Rev.  Henry  Morton,  of 
Philadelphia,  gives  the  street  garb  worn  by  him  in  1865.  The 
surpliced  choirs  were  introduced  into  America  in  the  seventies. 
Before  that  time  the  church  choirs  Avere  composed  of  four 
trained  voices  who  sang  in  ordinary  costume  and  usually  behind 
a  curtain.  Illustrations  of  the  different  vestments  worn  not 
only  by  the  clergymen  of  the  Anglican  Church,  but  also  of  the 
Roman  Catholic  Church,  may  be  found  in  the  "  Encyclopedia  of 
Religious  Knowledge."  * 


UNIFORMS 

The  Military  and  Naval  uniforms  of  our  own  country,  from 
1800  to  1870,  are  fully  illustrated  and  described  in  the  govern- 
ment publication  of  1889,  which  may  be  seen  at  any  public 
library.  For  the  uniforms  of  Great  Britain  the  reader  is  re- 
ferred to  "  Her  Majesty's  Army,"  f  while  Lepan's  "  Armee 
Francaise  J  is  an  excellent  authority  for  the  military  costumes 
of  France.  The  illustration  of  a  coat  worn  in  the  time  of  Jack- 
son's famous  rescue  of  New  Orleans  is  given  in  Figure  339,  and 
a  coat  which  formed  part  of  a  militia  uniform  worn  in  the 
United  States  about  1825  is  given  in  Figure  338. 

A  unique  and  most  interesting  collection  of  plates  showing 
the  uniforms  of  all  nations  at  different  historic  periods  is  in  the 
possession  of  the  Salmagundi  Club  in  New  York.  It  is  prob- 
ably the  most  complete  in  this  country. 

*  By  Abbott  and  Conant. 

t  Her  Majesty's  Army  by  Walter  Richards,  London,  1870. 
t  L'  Armee  Francaise  by  Lepau,  Paris,  1857. 


HISTORIC  DRESS  IN"  AMERICA 


431 


SPORTING  DRESS 

"Fox  Hunting  in  England 
"  Pastime  for  princes  ! — prime  sport  of  our  nation  ! 
Strength  in  their  sinew  and  bloom  on  their  cheek  ; 
Health  to  the  old,  to  the  young  recreation  ; 
All  for  enjoyment  the  hunting  field  seek. 

"  Eager  and  emulous  only,  not  spiteful  : 

Grudging  no  friend,  though  ourselves  he  may  beat ; 
Just  enough  danger  to  make  sport  delightful ! 
Toil  just  sufficient  to  make  slumber  sweet." 

Figure  361  illustrates  the  riding-dress  of  a  gentleman  in 
1800-1810,  with  slight  variations  in  the  coat  and  the  hat.  It 
was  probably  in  fashion  for  at  least  twenty-five  years  of  the 
nineteenth  century. 

The  red  hunting  coats  worn  in  the  field  by  Englishmen 
throughout  the  nineteenth  century  were  not  noticeable  in 
America,  where  gentlemen  of  leisure  have  ever  been  in  the 
minority. 

"  We  are  off  once  more  ! — for  the  summer's  o'er, 

And  gaily  we  take  our  stand 
By  the  covert-side,  in  our  might  and  pride, 

A  gallant  and  fearless  band  ! 
Again  we  hear  our  Huntsman's  cheer, 

The  thrilling  Tally-ho  ! 
And  the  blast  of  the  horn,  through  the  woodlands  borne, 

As  merrily  onward  we  go  ! 

Tally-ho  ! 

As  merrily  onward  we  go  ! " 

Although  fox  hunting  has  never  been  a  national  pastime  in 
the  United  States,  other  species  of  sport  have  always  been 
popular.    The  shooting  of  birds,  especially  of  ducks,  woodcocks, 


432 


HISTOKIC  DKESS  IN  AMEEICA 


partridges  and  reed  birds,  is  pursued  with  great  zest  and  reg- 
ularity at  certain  seasons.  In  England  we  read  of  some  changes 
in  guns  and  in  hunting  costume  about  1830.  From  a  book  on 
sport  in  the  mother  country,  we  quote  the  following : 

"  Gradually  welcome  improvements  were  introduced  in  the 
muzzle-loading  apparatus,  as  in  shooting  costume.  For  it  was 
astonishing  how  the  gentlemen  of  the  ancient  school  had  stuck 
to  the  most  inconvenient  and  uncompromising  of  garments. 
We  see  the  heroes  of  many  episodes  scrambling  over  the  rocks 
and  worming  themselves  along  the  beds  of  the  hill  streams  in 
high  chimney-pot  hats  and  tight-clinging  cutaways.  Their 
sons,  however,  discarded  blue  evening  swallow-tails  with 
brilliant  brass  buttons,  and  crimson  under-waistcoats,  and  be- 
took themselves  to  sensible  shooting  suits  of  loose-fitting  tweeds 
and  homespuns,  and  the  clever  mechanism  soon  came  to  the 
front,  going  forward  hand  in  hand  with  the  rational  tailor." 

In  Figure  366  a  shooting  dress  of  1832  from  an  old  print  is 
given  and  another  of  1860  is  shown  in  Figure  376. 


GLOSSARY 


Glossary 


Agatha  robe  A  semi-classical  dress 

(1800)  usually  of  soft  muslin  fast- 
ened with  clasps  on  the  shoulder, 
open  at  the  left  side  over  a  full 
skirt,  close-fitting  short  sleeves. 

Amaranthus  colour. — A  soft  pink- 
ish shade  of  purple,  very  fashion- 
able in  1802  and  popular  for  many 
years. 

Angouleme  hat. — With  a  very  nar- 
row brim  and  high  fluted  crown, 
named  for  the  daughter  of  Marie 
Antoinette  in  1815.  (See  Fig- 
ure 60.) 

Angouleme  tippet. — Made  of  satin 
trimmed  with  swansdown ;  worn 
in  1815. 

Angouleme  spencer. — A  new  spen- 
cer in  1815.  Illustrated  in  Fig- 
ure 60. 

Anne  Boleyn  mob. — Name  given  to 
a  fashionable  dress  cap  in  1807. 

Arched  collar. — A  high  collar  (1814) 
curved  to  fit  the  throat  and  fin- 
ished with  a  slightly  flaring  turn- 
over. 


Balmoral  petticoat.— (1860)  A 
woolen  underskirt,  originally  red 
with  black  stripes,  worn  under  a 
long  dress  looped  up  for  walking. 

Balmorals,  or  Balmoral  boots. — 

(1860)  Shoes  which  lace  up  the 
front,  worn  by  both  men  and 
women.  First  introduced  for  out- 
door wear  by  Queen  Victoria  at 
Balmoral,  Scotland.  Figure  166. 

Bands  (clerical). — An  adjunct  of 
clerical  dress  worn  by  Episco- 
palians and  Presbyterians  until 
1870.  Made  of  sheer  linen  cam- 
bric, worn  around  the  neck  with 
flat  ends  hanging  down  in  front. 
Figures  300  and  357. 

Beehive  bonnet. — (1806)  A.  shape  re- 
sembling a  hive  usually  made  of 
plaited  straw  simply  trimmed 
with  ribbon  and  tied  under  the 
chin.    Figure  59. 

Bishop's  blue. — A  purplish  shade  of  i 
blue,  new  in  1809. 

Blouse. — A  loose-fitting  bodice  worn 
by  women  and  children  in  1820 
and  after. 


Armenian  toque. — Small  turban  of  Bluchers.  —  (1814-1850)  Popular 
tulle  and  satin  trimmed  with  style  of  riding  boot  named  for  the 
feathers  and  spangled  with  silver,  famous  Prussian  General  who 
new  in  1817.  visited  London  in  1814.    It  was 

435 


4:30 


HISTORIC  DRESS  IN  AMERICA 


heavier  than  the  Wellington  boot 
and  better  adapted  for  riding  and 
rough  weather.    Figure  344. 

Bonaparte  hat. — Shaped  like  a  hel- 
met and  decorated  with  a  wreath 
of  laurel ;  sometimes  worn  on  one 
side.  Fashionable  from  1802  to 
1806.    (See  Figure  243.) 

Boot  hooks. — Used  to  pull  on  the 
long  boots  worn  from  1800  to  1870. 

Bottle-green. — A  dark  bluish  green 
worn  from  1800  to  1860. 

Bouillone.— Puffed  ;  1800  and  after. 

Brandenburgs. — Ornamental  fasten- 
ings made  of  crocheted  silk  ;  1812 
and  after. 

Brandenburg  fringe.  —  Made  of 
twisted  sewing  silk ;  1812  and 
after. 

Buckskin.  —  Popular  name  for  a 
riding  gaiter  made  of  tan-coloured 
leather  ;  1800  and  after. 

Burnous  or  Burnouse. — A  fashion- 
able cloak  worn  since  1850,  first 
introduced  in  France  in  imitation 
of  the  Moorish  mantles  worn  by 
the  Arabs  and  usually  made  of  an 
eastern  fabric  woven  of  silk  and 
goat's  hair. 

Bushel.— (Used  only  in  the  United 
States) — To  mend  or  repair  a 
tailor-made  garment. 

Busheller  or  Busheler. — A  tailor's 
assistant  whose  business  it  is  to 
repair  garments. 

Cabriolet. — A  carriage  with  two 
wheels  for  one  horse  ;  (ancestor 
of  the  cab)  1830  and  after. 


Cabriolet  bonnet.  —  Large  bonnet 
with  flaring  brim,  named  for  the 
two-wheeled  carriage  introduced 
in  1830.  Figures  123,  244  and  279. 

Caledonian  cap. — A  small  hat  fitting 
close  to  the  head,  trimmed  with 
a  profusion  of  black  feathers, 
worn  in  1817. 

Caledonian  silk. — A  new  material  in 
1819.  It  was  very  strong  and 
usually  of  a  white  ground  with  a 
small  chequer  of  colour. 

Capot. — Au  evening  hood  made  of  a 
cardinal  silk  handkerchief,  con- 
sidered very  becoming ;  1816. 

Capote  or  Capotte  (same  as  the  Poke 
bonnet). — A  small  bonnet  with 
a  projecting  brim  worn  by  women 
and  children  ;  1800  and  after. 
Figure  11. 

Capuchin. — A  cape  with  hood,  a 
survival  of  the  seventeenth  cen- 
tury ;  much  worn  in  1807. 

Capucine  colour. — Dark  orange  or 
nasturtium  colour,  fashionable  in 
1806  and  after. 

Carmine. — A  bright  shade  of  red 
popular  in  1817. 

Carrick. — A  long  loose  cloak  fashion- 
able in  1817  and  after. 

Caroline  spencer. — Made  of  white 
kerseymere  with  a  pelerine  cape 
and  trimmed  with  light  blue  satin 
cut  bias  ;  1818. 

Cassock. — A  long  clerical  coat,  but- 
toned in  front  and  reaching  to  the 
feet. 

Cazenou. — A  short  sleeveless  jacket  ,• 
1855. 


IIISTOKIC  DRESS  IN  AMERICA 


437 


Chapeau  bras  (for  gentlemen). — A 
crush  hat  of  the  nineteenth  cen- 
tury ;  quite  large  when  opened 
but  flat  when  closed.  (See  Figure 
340.) 

Chapeau  bras  (for  ladies). — A  crush 
bonnet  invented  by  Mrs.  Bell,  the 
foremost  London  dressmaker  ; 
very  convenient  for  concert  or 
opera  wear ;  1814. 

Circassian  hat. — Introduced  in  1806  ; 
something  like  the  Gipsy  hat 
but  with  a  fanciful  crown. 

Circassian  sleeve. — A  short  sleeve 
looped  up  in  front ;  worn  by  chil- 
dren in  1807. 

Clarence. — A  closed  four-wheeled 
carriage  with  curved  glass  front, 
and  seats  for  four  people  inside  ; 
1811. 

Clarence  blue. — A  new  shade  in  1811, 
similar  to  the  Cambridge  blue. 

Coal-scuttle  bonnet. — Popular  name 
for  the  large  flaring  bonnet,  some- 
times called  Cabriolet,  worn  in 
1830  and  after.    Figure  272. 

Coatee. — A  short  coat  or  spencer 
worn  in  1802. 

Coburg  bonnet. — Bonnet  with  a  soft 
crown  tied  under  the  chin  ;  1816. 

Coburg  cap. — Named  in  honour  of 
the  Duke  of  Saxe-Coburg  in  1816. 
Made  with  a  high  crown  of  silver 
tissue  ;  fashionable  for  the  opera. 

Coburg  walking  dress. — Named  in 
honour  of  the  Princess  Charlotte. 

Coiffure  a  1'  indisposition. — Dressy 
cap  made  of  lace  and  muslin  ; 
worn  in  1812  and  after.  (See 
Figure  235.) 


Conversation  bonnet. — Made  of 
chip,  with  flaring  brim  ;  usually 
lined  with  soft  silk  to  match  the 
ribbon  trimming  which  was  passed 
around  the  crown  and  tied  in  a 
bow  on  top  ;  fashionable  in  1807. 
Figure  23. 

Coquillicot  feathers. — A  stiff  little 
bunch  of  cock's  feathers,  fashion- 
able in  1802  and  after.   Figure  10. 

Cornette  or  French  cap. — Fashion- 
able in  1816  ;  like  the  French 
bonnet  in  shape,  completely  cov- 
ering the  hair  and  ears  ;  usually 
made  of  net  or  lace.  It  was  tied 
under  the  chin  with  a  small  bow 
of  ribbon  to  match  the  trimming 
on  the  top  of  the  high  crown. 
Figure  245. 

Cornette  a  la  Diane. — A  small  bon- 
net with  crescent-shaped  front ; 
1815. 

Corset-frock. — Frock  with  a  bodice 
shaped  like  a  short  corset  with 
three  gores  on  each  side  of  the 
bosom  and  laced  up  the  back 
with  a  white  silk  cord,  short 
sleeves  and  short  skirt. 

Cossack  hat. — Hat  with  a  helmet- 
shaped  crown,  front  turned  back 
and  edged  with  pearls ;  small 
feathers  at  one  side  ;  1812. 

Cottage  cloak. — Cloak  with  a  hood 
or  cape  and  tied  under  the  chin  ; 
a  popular  garment  throughout 
the  nineteenth  century. 

Curled  silk. — A  new  material  in  1814 
used  for  bonnets. 

Curls  a  la  Greque. — "Waving  locks 
close  to  the  face  ;  1802  and  after. 
Figures  9  and  31. 


438 


HISTOEIC  DRESS  IN  AMERICA 


Dandyess  or  Dandizette. — Popular 
names  for  the  female  dandy  in 
the  time  of  the  Begency. 

Demi-turban. — Soft  scarf  of  muslin 
or  gauze  worn  around  the  head 
and  tied  in  a  bow  at  the  right 
side;  1800-1812.  (See  Figures  17 
and  33J 

Devonshire  brown. — A  rich  reddish 
brown  like  the  soil  in  Devon- 
shire ;  introduced  in  1813. 

Dinner  cap. — Made  of  white  satin 
and  lace  ;  popular  in  1812.  Fig- 
ure 236. 

Douillette  a  la  Russienne. — Cloak 
with  a  warm  lining,  usually 
wadded.  Fashionable  in  1802 
and  after. 

Dutch  bonnet. — A  straw  bonnet 
turned  up  front  and  back.  Fash- 
ionable in  1802.   (See  Figure  31.) 

Eau  de  Veau.— A  cosmetic  used  in 
1808. 

Egyptian  amulet  A  favourite  or- 
nament in  1807. 

En  beret. — An  arrangement  of  the 
hair  with  a  cap  ;  1840  and  after. 

En  coulisse. — An  arrangement  of 
puffs  ;  1840  and  after. 

En  manche — Made  with  cuffs  ;  1840 
and  after. 

En  ravanche. — An  arrangement  of 
flowers  and  ribbon  worn  over  the 
left  eye. 

En  tablier.— In  apron  effect ;  1840 
and  after. 

En  tout  cas. — A  small  umbrella 
used  for  both  sun  and  rain  ;  1860 

and  after. 


Esprits. — Stiff  little  plumes  worn  in 
hats  ;  1802  and  after.   Figure  10. 

Eton  jacket. — The  short  coat  worn 
by  the  boys  at  Eton  ;  fashionable 
for  women  in  1862  and  after. 

Fatima  robe. — Short  overgown  ; 
sleeves  to  the  elbow  ;  slashed  up 
the  front  and  caught  together  at 
intervals  with  buttons ;  worn 
over  a  muslin  gown  ;  fashionable 
in  1800. 

Florence  satin. — A  thin  soft  variety 
of  satin  much  used  in  1802  and 
after. 

Flushing    hat  Something  like  a 

Gipsy  hat  in  shape,  but  with  a 
double  or  under  crown  supplying 
the  place  of  a  cap  ;  1809. 

Forester's  or  American  green. — A 
bright  green  popular  in  1817. 

French  bonnet. — Described  in  the 
books  of  1811  as  made  of  India 
muslin  with  a  cone-shaped  crown 
and  a  deep  frill  of  Mechlin  lace 
around  the  face  and  lined  with 
sea-green  sarsnet ;  a  large  lace 
bow  on  top.    Figure  76. 

French  hat. — Another  name  for  the 
cornet  bonnet  fashionable  in 
1815  ;  crown  very  high  and  small 
flaring  brim,  often  trimmed  with 
a  group  of  ostrich  plumes. 

French  net. — A  new  material  for 
evening  frocks  in  1807,  similar  to 
Brussels  net. 

Fugitive  coat. — A  sort  of  pelisse 
opening  down  the  front  intro- 
duced in  1807,  a  survival  of  the 
flying  Josie  of  the  preceding  cen- 
tury.   (See  Figure  13.) 


HISTORIC  DRESS  IN  AMERICA 


439 


Garibaldi  blouse. — Loose  bodices 
named  in  1859  for  the  Italian 
hero.    Figure  165. 

Georgian  cloth. — A  light  weight 
broadcloth  fashiouable  in  1806 
aud  after. 

Gipsy  cloak. — A  plain  circular  wrap, 
finished  with  a  hood  of  the  ma- 
terial. 

Gipsy  hat. — A  plain  hat  of  straw  or 
chip  tied  carelessly  under  the 
chiu  with  a  ribbon ;  fashionable 
from  1800  to  1820.    Figure  8. 

Gossamer  feathers. — Downy  feath- 
ers found  under  the  wings  of  the 
goose. 

Gossamer  satin.  —  A  thin  soft- 
finished  satin  similar  to  the 
Liberty  satin  of  to-day  ;  used  for 
evening  gowns  in  1813  aud  after. 

Graham  turban. — A  bonnet  of  plaid 
silk  with  a  plume  of  black 
feathers  ;  introduced  in  1811. 

Grecian  robe.  —  A  pseudo-classic 
garment  fashiouable  for  evening 
dress ;  1800-1805. 

Grecian  sandal. — A  novelty  in  foot- 
wear in  1812  ;  for  evening  and 
street  attire.    (See  Figure  50.) 

Grecian  scarf. — A  graceful  adjunct 
of  the  toilet  illustrated  in  Figures 
48  aud  50. 

Half  boot. — A  low  shoe  for  women 
similar  to  our  Oxford  tie ;  worn 
in  1812  aud  after.    Figure  48. 

Half  handkerchief.  —  A  kerchief 
worn  a  la  Marie  Stuart  with  a 
point  in  front ;  made  of  net  em- 
broidered in  gold  or  silver  ;  very 
fashionable  in  1807. 


Hair  a  la  Recamier. — Drawn  back 
from  the  left  eyebrow  ;  1802. 

Hair  a  la  Romaine. — Arranged  in 
coils  or  braids  crossing  the  head 
like  a  coronet. 

Head  a  la  Titus. — Name  given  to 
the  short  hair  fashionable  from 
1800  to  1806. 

Hessian.-*- A  soft  leather  boot  worn 
outside  the  trousers  and  curved 
under  the  knee  ;  usually  finished 
with  a  tassel  at  the  top  ;  1800- 
1850.    (See  Figure  345.) 

Hibernian  vest. — A  short  jacket  or 

spencer  of  velvet  trimmed  with 

fur ;  1807. 
High-low. — Popular  name  for  a  shoe 

reaching  to  the  ankle  ;  1810  and 

after. 

Hungarian  vest. — A  sort  of  jacket 
made  with  a  high  collar  and  long 
sleeves,  a  scarf  hanging  from  the 
left  shoulder  and  crossing  in  the 
back  was  caught  into  a  belt ; 
1807. 

Hungarian  wrap. — A  fashionable 
loose  cloak  in  1809,  usually  made 
of  velvet  and  lined  throughout 
with  a  corresponding  shade  of 
silk  ;  it  was  wrapped  in  folds 
about  the  figure. 

Huntley  bonnet. — A  cap  of  black 
velvet  with  silk  plumes  worn  in 
1813.    (See  Figure  49.) 

Huntley  scarf.— Scarf  of  Scotch 
tartan  either  in  silk  or  wool,  the 
ends  fastened  on  the  left  shoulder. 
(See  Figure  49.) 

Hyde  Park  bonnet. — Made  of  white 
satin  aud  trimmed  with  four  white 


HISTOEIC  DRESS  IN  AMERICA 


ostrich  plumes.  Very  fashionable 
in  1812.    Figure  237. 

Italian  slipper. — A  flat  slipper  with- 
out a  heel  and  cut  low  ;  worn  in 
1812. 

Ivanhoe  cap. — A  cap  named  in 
honour  of  Scott's  novel  which 
was  published  in  1820. 

Jaconet  or  Jaconette. — A  thin  variety 
of  cambric  used  for  dresses,  neck- 
handkerchiefs,  etc.,  originally 
made  in  India ;  fashionable  in 
1800  and  after. 

Jockey  bonnet. — A  bonnet  with  full 
crown  and  visor  turned  back  from 
the  face ;  1806  and  after. 

Jockey  hat. — Several  varieties  of  hat 
are  known  by  this  name.  In 
1806  the  fashionable  jockey  hat 
was  turned  up  in  front  to  show  a 
contrasting  colour  and  trimmed 
with  fur.  In  1820  and  after  a 
jockey  hat  had  a  peak  or  visor 
in  front  and  was  trimmed  with  a 
tassel  or  small  ostrich  feather; 
while  in  the  sixties  the  jockey 
hat,  celebrated  in  a  popular  song 
and  very  fashionable  in  America, 
had  a  small  curved  brim  and 
round  crown  and  was  adorned 
with  a  rooster's  feather.  Figure 
169. 

Jonquille. — A  fashionable  shade  of 
yellow  ;  1811  and  after. 

Kilt  or  Kilted  skirt. — A  short  skirt 
laid  in  deep  plaits ;  a  fashion 
adopted  from  the  Highland  cos- 
tume which  became  very  popular 
for  little  boys  in  1870.  Figure 
162. 


Knickerbockers.  —  Loose  knee- 
breeches  worn  by  boys  and  sports- 
men in  1860  and  after.  Figure 
370. 

Kutusoff  hat — Named  in  1813  for 
the  Eussian  General  who  com- 
manded the  Allies  against  Napo- 
leon. Made  of  cloth  and  turned 
up  in  front  with  a  little  corner  to 
the  right  side ;  tied  under  the 
chin  and  finished  with  a  feather  ; 
a  full  puffing  of  lace  under  the 
brim.    Figure  81. 

Kutusoff  mantle. — Made  of  cloth  to 
match  the  hat,  with  a  high  puck- 
ered collar  and  a  long  lappel  fall- 
ing over  the  left  shoulder  ;  fast- 
ened at  the  throat  with  a  brooch. 
Figure  81. 

Lavinia  hat. — A  variety  of  the 
Gipsy  shape,  fashionable  in  1807. 
(See  Figure  13.) 

Levantine. — A  very  soft  velvet  with 
a  satin  finish  used  in  1820  and 
after. 

Limerick  gloves. — Gloves  made  of 
rough  kid  ;  1807  and  after. 

Magenta. — A  purplish  shade  of  red 
named  for  the  battle  of  Magenta  in 
1859. 

Mameluke. — An  eastern  wrap  fash- 
ionable in  1806,  hanging  from  the 
shoulder  in  full  folds  down  the 
back. 

Mameluke  robe. — A  full  loose  gown 
hanging  from  the  shoulders  with 
a  train  ;  1806  and  after. 

Mancheron. — A  cap-like  trimming 
at  the  top  of  sleeves,  often  slashed ; 
1810  and  after. 


HISTORIC  DRESS  IN"  AMERICA 


Manilla  brown. — A  soft  light  shade, 
new  in  1811  ;  name  derived  from 
Manilla  hemp. 

Marabout  feathers. — Soft  and  downy 
feathers  found  under  the  wings 
and  tail  of  the  marabout  stork ; 
much  used  for  trimming  in  1800 
and  after. 

Marie-Louise  blue. — A  new  shade  of 
bright  light  blue  named  for  the 
Empress  ;  still  fashionable. 

Marie  Stuart  bonnet. — Large  in  the 
brim,  depressed  in  front  over  the 
brow,  and  flaring  at  the  sides. 
For  dress  occasions  it  was  made 
of  white  satin  trimmed  with  lace 
and  coloured  ribbons.   Figure  32. 

Metallic  gauze. — A  new  material  in 
1820.  Gauze  with  a  peculiar  lustre 
and  made  in  all  colours  to  re- 
semble precious  gems;  emerald, 
topaz,  amethyst,  etc. 

Minerva  bonnet. — Shaped  like  a 
helmet  with  a  long  ostrich  feather 
across  the  front ;  fashionable  in 
1812. 

Moorish  boot. — Shoe  of  coloured  kid 
laced  in  front ;  1807. 

Mosaic  gauze. — A  new  variety  of 
gauze  popular  in  1820. 

Nakara  colour. — Pearl  colour,  fash- 
ionable in  1812  and  after. 

Neapolitan  head-dress. — Worn  for 
full  dress  in  1817,  made  of  striped 
gauze  and  trimmed  with  silver. 

Nicholas  blue. — A  new  shade  in 
1817. 

Oatlands  hat. — Named  in  honour  of 
the  place  where  the  Princess 
Charlotte  passed  her  honeymoon 
in  1816. 


411 


Oldenburgh  bonnet. — Named  for  the 
Duchess  of  Oldenburgh,  who  vis- 
ited England  in  1814.  (See  Figure 
43.) 

Over-alls.  —  Water  -  proof  leggins 
worn  in  1800  and  after. 

Pagoda  or  Chinese. — A  parasol 
fashionable  in  1818. 

Palatine. — A  wrap  of  black  satin 
made  with  a  hood,  and  lined  with 
coloured  silk. 

Paletot. — A  semi-loose  overcoat  fash- 
ionable in  the  second  half  of  the 
nineteenth  century. 

Pamela  bonnet  or  hat. — Made  of 
straw,  trimmed  with  a  simple 
band  of  ribbon  and  tied  under  the 
chin.    (See  Figure  50.) 

Panach£e.  — Variegated. 

Panache. — A  bunch  of  feathers. 

Paysanne  bonnet. — Another  name 
for  the  cottage  bonnet  worn  in 
1800  and  after. 

Pea-green. — Very  fashionable  in 
1809  and  after. 

Pea  jacket. — A  short  heavy  coat 
originally  made  of  pilot  clotlfand 
worn  by  seamen,  but  copied  in 
finer  cloth  for  small  boys;  1850 
and  after. 

Pekin  satin. — A  heavy  satin  with  a 
stripe  of  the  same  colour  ;  1802 
and  after. 

Pelisse  or  Pelice. — A  long  coat-like 
garment  usually  made  to  fit  the 
figure  ;  in  general  use  with  slight 
variations  from  1800' to  1870. 

Pensee  or  Pansy  colour. — A  delicate 
shade  of  purple  new  in  1841. 


412 


HISTORIC  DRESS  IN  AMERICA 


Percale. — A  soft  closely-woven  cam- 
bric first  mentioned  in  1812  and 
still  in  use. 

Persian  cap. — A  fashionable  riding 
hat  in  1811. 

Persian  scarf. — A  Cashmere  or  silk 
scarf  with  a  Persian  border,  a 
fashionable  accessory  in  1812. 

Pilgrim's  hat. — Of  Carmelite  brown 
with  an  ornament  in  front  in  the 
form  of  a  cockle  shell ;  1811. 

Pistache  or  Pistachio  colour. — A 
soft  light  shade  of  green  very 
fashionable  in  1819. 

Platoff  costume. — Named  in  1813 
for  the  daughter  of  Count  Platoff 
who  is  said  to  have  offered  his 
daughter's  hand  to  any  soldier 
who  would  bring  him  Napoleon's 
head. 

Plume  velvet. — Velvet  with  a  nar- 
row stripe  of  satin  of  the  same 
colour;  1820. 

Poke  bonnet. — Popular  name  for  the 
capote  or  close-fitting  bonnet 
which  projected  or  poked  over 
the  face.  Worn  in  the  early  part 
of  the  nineteenth  century.  Fig- 
ures 11  and  288. 

Poland  mantle. — New  in  1806  ;  made 
generally  of  light  silk  and  fast- 
ened with  an  antique  clasp  or 
brooch  on  the  right  shoulder. 

Pomona  green. — A  new  shade  in 
1812  similar  to  apple  green. 

Pomposa. — A  high-cut  slipper  laced 
up  the  front,  worn  by  children  in 
1807  and  after. 

Poussiere  de  Paris.-- -A  shade  of 
light  brown  known  by  this  name 


in  1819.  It  was  probably  like  the 
Bismarck  brown  of  the  present 
day. 

Princess  Augusta  poke.  —  Usu- 
ally of  white  satin  with  a 
feather  to  match,  falling  to  the 
left  side ;  tied  under  the  right 
cheek  with  a  large  bow  of  soft 
ribbon  ;  1813. 

Princess  of  Wales  bonnet. — Made 
with  a  round  crown  and  turned  up 
at  one  side  of  the  front.  Named 
for  Princess  Caroline  in  1812. 

Provincial  bonnet. — Made  of  fine 
straw,  fitting  closely  to  the  head 
and  flat  on  top  ;  trimmed  simply 
with  ribbon  arranged  in  a  flat  bow 
on  top  ;  1808. 

Redingote. — An  outer  garment  or 
coat  fashionable  in  1848. 

Regency  ball-dress. — A  plain  round 
frock  trimmed  with  a  bias  fold  of 
satin  up  each  side  of  the  front 
edged  with  fringe ;  an  epaulet 
sleeve  edged  with  fringe  and  fast- 
ened in  front  of  the  arm  with 
small  satin  buttons  ;  new  in  1813. 

Regency  cap. — Made  of  white  satin 
trimmed  with  a  rouleau  of  satin 
and  a  bunch  of  ostrich  feathers  ; 
new  in  1813.    (See  Figure  45.) 

Regency  hat. — Crown  made  to  fit 
the  head  and  gradually  widened 
to  the  top ;  trimmed  with  cord 
and  tassel  and  a  feather ;  new 
in  1813.    (See  Figure  44.) 

Regency  mantle. — Made  of  cloth, 
usually  black  ;  about  a  yard  and 
a  half  in  length,  with  a  small 
cape  and  high  collar  finished  with 
silk  tassels  ;  a  wide  band  of  silk 


HISTOEIO  DEESS  IN  AMERICA 


443 


cut  bias  edged  with  cord  trimmed 
the  garment  round  the  bottom 
and  up  the  fronts.    New  in  1813. 

Regency  wrapper. — New  in  1813. 
Made  with  a  train  and  long 
sleeves ;  was  laced  up  the  front 
with  a  silk  cord,  trimmed  with  a 
flat  band  of  velvet  or  sealskin, 
and  finished  at  the  throat  with  a 
collar  cut  in  points. 

Ridicule. — Popular  name  for  the 
reticule  iu  general  use  from  1800 
to  1850. 

Robe  a  la  Joconde. — A  long  gown 
opening  over  a  short  petticoat, 
fastened  on  the  left  shoulder  with 
a  full  blown  rose  ;  1817. 

Roman  sandal. — Fashionable  foot- 
wear in  1817  and  after. 

Rutland  poke. — A  small  bonnet  of 
wadded  satin  edged  with  swans- 
down  and  tied  under  the  chin 
with  a  soft  ribbon ;  an  ostrich 
feather  was  used  as  trimming 
placed  very  much  to  one  side  ; 
1813. 

Saccharine  alum. — A  popular  cos- 
metic in  1808. 

Sardinian  mantle. — A  scarf  made  of 
thin  stuff  such  as  net,  muslin,  or 
spotted  leno.  The  ends  were 
usually  caught  into  a  full  knot  or 
rosette  and  hung  down  to  the 
knee  in  front ;  worn  in  1808. 

Scoop  bonnet. — Popular  name  for 
the  long  narrow  bonnet  worn  in 
1840.    Figures  125,  131. 

Sempstress  bonnet. — Made  of  fine 
muslin,  the  crown  drawn  in  with 
two  rows  of  ribbon  and  fastened 
under  the  chiu  ;  1812  and  after. 


Sleeve  a  la  Minerva. — A  full  short 

sleeve  caught  up  in  front  with  a 

jeweled  clasp. 
Snap. — A   fastening  with  a  snap 

clasp  used  on  pelisses  and  dresses 

in  1810  and  after. 

Solferino. — A  shade  cf  red  named 
for  the  battle  of  Solferino  in  1859. 

Spa  bonnet. — Made  of  a  curi- 
ously wrought  fancy  straw  some- 
times of  two  colours,  worn  with- 
out any  other  trimming  ;  1819. 

Spanish  blue. — A  favourite  shade  of 
dark  blue  for  gentlemen's  morn- 
ing coats  in  1809. 

Spanish  cloak.  —  Short  and  full 
mantle,  one  end  of  which  was 
usually  thrown  over  the  shoulder. 

Spanish  coat. — Fashionable  in  1814; 
pelisse  with  standing  collar  and 
epaulettes  on  the  shoulders. 

Spanish  fly. — A  rich  shade  of  dark 
green  new  in  1809. 

Spanish  hat. — A  felt  hat  with  soft 
brim  and  trimmed  with  a  droop- 
ing plume  ;  much  worn  from  1802 
to  1807. 

Spencer. — A  short  jacket  with  or 
without  tails ;  1800  and  after. 
Figure  27. 

Surtout  a  la  Sultane. — An  over- 
dress with  a  train  worn  over  a 
white  frock ;  a  new  fashion  in 
1802. 

Suarrow  boots. — Named  for  the 
Polish  General ;  went  out  of 
fashion  in  1802. 

Swiss  mountain  hat  Hat  with  a 

soft  brim  drooping  over  the  face 
and  trimmed  with  ostrich  plumes  ; 
1819. 


444 


HISTORIC  DRESS  IN  AMERICA 


Taglioni  A  short  overcoat  intro- 
duced in  the  days  of  the  cele- 
brated dancer's  triumph  ;  1830 
and  after. 

Tippet, — A  flat  collar  with  long  ends 
hanging  down  iu  front.  Made  of 
silk,  velvet  and  fur,  very  popu- 
lar in  the  first  half  of  the  nine- 
teenth century. 

Top  boots.  —  Commonly  called 
"Tops"  ;  fashionable  for  hunt- 
ing. They  were  carefully  fitted 
to  the  foot  and  leg  and  were 
finished  below  the  knee  with  buff 
or  white  leather  tops,  whence 
their  name.  They  came  into 
vogue  at  the  time  of  the  Eegency 
and  were  worn  until  the  end  of 
the  nineteenth  century.  (See 
Figures  346,  359  and  361.) 

Torsade. — A  twisted  fringe  trim- 
ming used  in  1840. 

Trafalgar  dress. — Evening  gown  of 
white  satin  trimmed  with  silver, 
named  for  the  battle  of  Trafalgar 
in  1806. 

Treble  or  Triple  ruff. — Made  of 
three  very  full  rows  of  pointed 
lace  or  of  sheer  muslin  edged 
with  lace,  and  fastened  at  the 
back  of  the  neck  ;  worn  in  1813 
and  after. 

Turbans. — Were  the  most  popular 
head-dresses  for  women  during 
the  first  half  of  the  nineteenth 
century.  Many  illustrations  are 
given  of  the  different  varieties 
throughout  this  book. 

Turkish  turban. — A  turban  made  of 
folds  of  silk  and  gauze  ;  in  vogue 
in  1808. 


Vevai  cap. — A  close-fitting  cap  of 
black  velvet  ornamented  with  a 
heron's  plume  ;  1820. 

Wallachian  cap. — A  round  cap 
usually  made  of  dark  sable  and 
worn  with  a  tippet  to  match  ; 
1812. 

Washing  leather  gloves. — Fashion- 
able in  1817  and  after. 

Wellington  boots. — Named  for  the 
great  General  and  worn  in  1815 
and  many  years  after.  Figure 
343. 

Wheel  trimming.— Made  in  1824  of 
soft  puffings  of  silk  formed  into 
wheel-like  circles,  each  overlap- 
ping the  other. 

Willow  green. — Delicate  shade  of 
green,  fashionable  in  1811  and 
after. 

Wraprascal. — Popular  name  for  a 
loose  overcoat  used  in  the  first 
half  of  the  nineteenth  century. 

Wurtemburg  frock. — A  frock  or 
dress  of  1813,  fastened  in  front 
under  the  trimming,  which  formed 
a  little  jacket  effect ;  very  long 
sleeves  of  lace. 

Yeoman's  hat. — Felt  hat  made  with 
triangular  points. 

York  tan  gloves. — Made  of  rough 
undressed  kid  without  any  partic- 
ular fit ;  1807  and  after. 

Zebra  feathers. — Striped  in  two  dif- 
ferent colours,  fashionable  in 
1816. 

Zephyr  cloak. — Long  over-garment 
of  lace  or  net  falling  in  long 
points  to  the  feet  and  tied  in  at 
the  waist  by  a  sash  of  ribbon. 


INDEX 


Index 


Ackerman's  "Repository,"  24 
Acrostic  hats,  134 
Acrostic  jewelry,  133,  134 
Algerian  burnous,  254 
Ambassadors,  Court  dress  of,  395 
American  manufacture,  clothes  of,  worn 

by  President  Madison,  369 
Anagram  jewelry,  133,  134 
Angouleme  hat,  117 
Angouleme  spencer,  117 
Applique  lace,  215 
Aprons,  33,  65,  67,  161,  197,  305 
Archer  dress,  42 

Artificial  flowers,  36,  37,  44,  62,  66,  81, 
141,  142,  143,  144,  155,  164,  187, 
204 

Austen,  Jane,  dress  worn  in  her  day 
described  in  letters  of,  107,  112 


Back-combs,  312 
Balmoral  boots,  282 

Bancroft,  Mrs.  George,  her  descriptions 
of  dress  in  England,  234,  235,  236 

Basques,  245 

Bead  chains,  234 

Beards,  424 

Bell  sleeves,  224 

Belts,  157,  196,  226 

Berthas,  217,  232,  236 

Bingham,  Miss,  dress  worn  by  her  at 
the  Queen's  Drawing-room  (1802), 
44 

Bird  of  Paradise  plumes,  91,  93 

Bishop's  dress,  428,  429 

Bishop  sleeves,  77 

Black  evening  dress  for  men,  368 

Black  lace  gloves,  225 

Black  moire,  232 

Blond  gauze,  184 

Blond  lace,  212 

Bloomer  costume,  246,  247,  321 
Blouses,  165,  319 

Bodices,  Corsages,  Waists,  27,  51,  64, 
65»  83,  85,  95,  96,  in,  187,  201, 


205,  223,  226,  231,  233,  235,  237, 
245»  3r9 

Boigne,  Comtesse  de,  Court  dress  and 
other  fashions  described  by,  123,  124 
Bombazine,  75,  85 

Bonaparte,  ball  dress  of  Madame  Jerome, 

57  ;  wedding  dress,  37 
Bonapartian  hat,  42,  95 
Bonnets,  34,  35,  36,  44,  53,  62,  67,  74, 

75,  84,  94,  135,  142,  143,  145,  146, 

I53i  1S5»  156>  I57»  l62»  l65»  I73> 
174,  176,  177,  183,  191,  192,  193, 
197,  201,  202,  203,  204,  206,  213, 
214,  222,  223,  224,  225,  226,  227, 
231,  232,  236,  237,  241,  276,  277, 
285,  300,  301,  309,  313,  314,  315, 
332,  334 

Bonnets  (children's),  313,  3x4,  315 
Boots,  Shoes,  56,  62,  67,  74,  75,  76,  91, 
92,  101,  106,  126,  156,   162,  164, 
228,  282,  295,  315,  319,  333,  334, 

335»  36o>  362,  37°>  394 
Bourbon  dress,  110 
Bourbon  hat,  110 
Bracelets,  45,  222 
Brandenburghs,  94,  203 
Breeches,   Trousers,   Pantaloons,  361, 

363>  367>  368>  378 
Bretelles,  232,  319 

Brinton,  Miss  Mary,  dresses  worn  by  in 

Philadelphia,  176 
Broad  brims,  327 

Brownlow,    Lady,   fashions    in  Paris 
(1802),  described  in  the  "Reminis- 
cences "  of,  37 
Brummell,  Beau,  369,  370,  371 
Brussels  lace,  94,  95,  214,  235 
Buckles,  136,  182,  226,  367,  369,  394, 

415 

Buckskins,  371 
Bustles,  285 


Cabriolet  bonnets,  176 
Cachemire  shawls,  116,  193 


447 


448 


INDEX 


Cafe  au  lait  (a  new  colour),  156 
Caledonian  caps,  123 
Cameo  brooches,  234 
Canegous,  215 
Canes,  355 

Canning,  Hon.  Stratford,  impressions  of 

dress  in  America,  142,  388 
Capes,  201,  232,  234,  241 
Capotes,  35,  224 

Caps,  36,  41,  42,  43,  44,  73,  84,  86, 

141.  IS1!  I53>  155!  l63>  l64>  222, 
223,  225,  227,  231,  232,  235,  241, 
334 

Caps  (boys'),  305,  310,  312 
Caps  (children's),  299,  314 
Carmelite  mantle,  74 
Caroline,  Princess,  bonnet,  105 
Caroline  turban,  133 
Carricks,  122 
Cartes  de  visites,  424 
Casagne,  234 
Casauba,  399 

Cashmere  shawls,  116,  193 
Cavalier's  hat,  95 

Ceres,  a  la  (style  of  hair-dressing),  185 
Chambery  gauze,  157 
Chameleon  silks,  231,  237 
Chantilly  lace,  262 
Chapeau  bras  (ladies'),  113 
Chapeau  bras  (men's),  360,  385,  395, 
4i5 

Chemisettes,  67,  231,  232,  233,  234,  246 

Chemisettes  (children's),  315 

Chew,  Miss,  dresses  worn  in  1823  by, 

174 
Chignon,  274 
Classic  dress,  25 
Clerical  dress,  428,  429 
Cloaks,  34,  62,  300,  301,  393 
Clotilda  cap,  164 
Coat,  varied  expressions  of  a,  403 
Coats,  331,  347,  351,  353,  354,  355, 

359»  36o>  36l>  362>  363>  369»  371* 
375-  378,  379.  385>  393»  394.  395. 
396,  415,  419,  424 

Coburg  walking-dress,  122 

Cocked  hats,  353,  360 

Coiffure  (hair  dressing),  35,  47,  55,  81, 

91,  144.  i47.  151.  !52>  !53>  I55>  l6l» 
183,  184,  185,  187,  192,  195,  196, 
205,  216,  217,  223,  225,  227,  233, 
235,  236,  242,  254,  274,  276,  285, 
332 


Coin  du  feu,  234 

Collars,  182,  183,  231,  232,  233,  235, 
332 

Collars  (men's),  347,  354,  367,  371 
Combs,  91,  222 
Comet  hat,  95 

Congress,  dress  of  members  of  in  1854, 

4J9>  423 
Congress  gaiters,  282 
"Constellation,"  costumes  worn  at  a 

dinner  on  board  the,  102 
Coquette,  La  (cap),  222 
Coral  ornaments,  222 
Cord  and  tassels,  222 
Cornelia  wrap,  234 
Cornelian  ornaments,  97 
Cornettes,  121 
Coronet  braids,  217 

Corsages,  Bodices,  Waists,  27,  51,  64, 
65.  83,  85,  95,  96,  in,  186,  187,  201, 
205,  223,  226,  231,  233,  235,  237, 
245,  319 

Corsets,  Stays,  27,  112,  123,  191 

Cosmetics,  82,  83 

Cossack  hat,  105 

Cossack  mantle,  86 

Costume  a  l'antique,  25 

Costumes  worn  by  Jane  Austen,  107, 
112. 

Cottage  bonnet,  84 

Court  dress  in  England,  124,  125,  131, 

132,  236 
Court  hoops,  124,  131,  132 
Court  mourning,  236 
Cravats,  Neckties,  370,  371,  379,  385, 

386,  396,  414,  424 
Crinoline,  215,  216,  319 
Croquet  costume,  282 
Curl  on  the  forehead,  girl  with  a,  275 
Curls,  35,  55,  91,  133,  187,  312 
Cutaway  coats,  423 


Daguerreotypes,  217 
Danish  robes,  86 
Debry,  Jean,  coat,  347 
Delaine,  232 

Derby  (Mrs.),  dress  worn  by  her  at  the 

Queen's  Drawing-room  (1802),  44 
Devonshire  mob,  95 

Diplomatic  dress,  American,  417,  418, 
419,  424 

Diplomatic  dress,  foreign,  384,  389 


INDEX 


449 


Doctors  of  Medicine,  dress  of,  375 

Dolls,  320,  321 

Double  skirts,  242,  243 

Drawn  work,  73 

Dress  improvers,  285 

Dress  of  American  ladies  at  the  Queen's 

Drawing-room  (1802),  44 
Dress  worn  at  the  ball  given  for  La 

Fayette  in  Baltimore,  172 
Dressing  gowns,  399 
Dunstable  straw,  277 


Ear-rings,  73,  81,  86,  91,  96,  97 

Eau  de  veau  (cosmetic),  83 

Egyptian  sand  (colour),  145 

Empire  dress,  55 

Empress  peplin,  275 

En  barbe  style  of  hair-dressing,  184,  185 

En  chine,  253 

En  coulisses,  223 

English  curls,  223 

English  Point  lace,  94 

En  redingote,  222,  225 

En  tout  cas,  276 

Epaulets,  104,  185 

Etruscan  pattern  (trimming),  66 

Eugenie,  Empress,  coiffure  adopted  by, 

251;  famous  dressing-room  of,  281; 

inaugurates  the  reign  of  the  hoop-skirt, 

251  ;  riding  habit  of,  276;  wedding 

dress  of,  247 


False  curls,  133 

Fans,  154,  164,  165,  185,  255 

Fashion  magazines,  23 

Feathers,  33,  35,  36,  104,  153,  183,  214, 

222,  235,  277 
Feather  trimming,  156 
Fichus,  155,  156 
Figured  satin,  141 

Fitzherbert,  Mrs.,  arbiter  of  fashion  in 

England,  94 
Flats,  319 

Flounces,  143,  146,  147,  161,  162,  163, 
174,  184,  186,  231,  243,  257 

Flushing  hat,  84 

Fluted  trimming,  154 

Follet,  Le  (Fashion  Magazine),  224 

Foreign  Diplomatic  Corps,  dress  of  in 
Washington,  384,  389 

Foreign  names,  86 


Foulard  silks,  276 
French  aprons,  65 
French  coat,  74 
French  lawn,  77 

French  Legation,  costumes  of,  384 

Fringe,  136,  147,  186 

Frock  coats,  351,  424 

Full  dress  patent  head-dresses,  47 

Full  skirts,  223 

Fur»  53>  54.  66,  164,  183,  203,  221, 

224,  246 
Fur  boas,  183 
Fur  trimmed  shoes,  164 


Gaiters,  162,  319 

Gaiters  (men's),  359,  361,  362,  375, 

393»  429 

Garibaldi  blouse,  283 

George  IV,  costumes  worn  at  the  coro- 
nation of,  387 

Gillray,  "  Progress  of  the  Toilet  "  by,  27 

Gilt  buttons,  363,  367,  423 

Gipsy  cloak,  62 

Gipsy  hat,  62,  65 

Girdles,  237 

Gloves,  67,  73,  74,  86,  91,  92,  95,  96, 
97,  101,  106,  127,  144,  152,  162,  172, 
185,  204,  205,  225,  255,  289 

Gloves  (men's),  370,  395 

Godey's  "Lady's  Book,"  204 

Gold  embroidery,  384 

Gold  lace,  384 

Gores,  57 

Gossamer  satin,  76 

Great  Coats,  Top  Coats,  Overcoats,  359, 

363>  368>  383>  395.  399 
Grecian  bands,  35 
Grecian  knot,  196 
Grecian  sandals,  84 
Grecian  waists,  95 
Greque,  a  la,  hair  dressed,  185 
Guimpes,  53,  319 
Guipure  lace,  241 


Hair  caps,  376 

Hair-dresser's  announcement,  46 
Hair-dressing  (coiffure),  35,  47,  55,  81, 
91,  144,  151,  152,  153,  155,  161,  183, 
184,  185,  187,  192,  195,  196,  205, 
216,  217,  223,  225,  227,  233,  235, 
236,  242,  254,  274,  276,  285,  332 


450 


INDEX 


Hair  dye,  47 
Hair  dyeing,  183 
Half-boots,  164 
Half  handkerchiefs,  45 
Half-shoes,  62 
Half-turbans,  73 

Handkerchiefs  used  as  purses,  155 
Hats,  35,  36,  37,  41,  42,  44,  62,  63, 

84,  87,  94,  95, 104,  105,  134,  136,  173, 

176,  183,  i87j  195,  196,  204,  205, 

241,  254,  277,  285 
Hats  (children's),  299,  300,  313,  320 
Hats  (men's),  327,  333,  353,  354,  355, 

359-  36o>  37*>  395>  399>  426, 

429>  431 

Hayes,  Miss  Sarah,  wedding  outfit  of, 
210,  211 

Head-dresses,  35,  46,  47,  73,  163,  164, 

215,  227 
Head-dresses  in  hair,  46 
Henri  IV  plume,  221 
Hessian  boots,  347,  371,  375 
High  combs,  195,  332 
High  hats,  320 
Highland  suits,  320 
Honey-comb  trimming,  82 
Honiton  lace,  214 

Hoop-skirts,  142,  251,  252,  253,  263, 
264,  265,  266,  267,  271,  272 

Hoop-skirts,  anecdotes  of,  252,  266,  267, 
271,  272 

Howe,  Julia  Ward,  descriptions  of  dress 
in  England  from  her  "Reminiscences," 
217 

Huile  antiques,  37 
Hungarian  wrap,  84 
Hunting  dress,  431 
Hussar  boots,  363 
Hussar  caps,  86 


Imperial  hair  restorer,  advertisement  of, 

184 

India  cotton  underwear,  81 
Indian  costumes  (1832),  404 
Indian  feathers,  demi-tiara  of,  86 
Indispensables,  45 
Infant's  dresses,  300 
Invisible  dresses,  77 
Ivanhoe  caps,  141 


Jackets  (boys')  320  • 


Jackson  calico,  175 

Janizary  jackets,  86 

Jean  Debry  coat,  347 

Jefferson,  President,  costume  worn  by 

him  at  his  inauguration  (1801),  352 
Jet  trimmings,  277 

Jewelry  (women's),  42,  45,  56,  86,  91, 
124,  125,  133,  151,  152,  161,  162, 
175,  185,  222,  235,  252,  254,  274 

Jewelry  (men's),  414 

Jockey,  147 

Jockey  caps,  193,  310,  312 
Josephine  mantle,  234 
Josephine,    Empress,    extravagance  in 
dress  of,  54;  slippers  of,  55 


Kasaveck,  234 

Kemble  slippers,  94 

Kenwig  braids,  312 

Kerchiefs,  53,  333  _ 

Key's  travelling  waistcoats,  351 

Kilts,  320 

Knee-breeches,    Short    Clothes,  Small 
Clothes,  327,  351,  354,  355,  360,  369, 

385>  395 
Kutusoff  hat,  106 
Kutusoff  mantle,  106 


Lace,  54,  165,  166,  214,  215,  225,  227, 

256,  262 
Lace  gloves,  225 

Lace  made  in  Massachusetts,  165,  166 

La  Fayette  badge,  171,  172 

La  Fayette,  dress  worn  at  the  ball  given 

for  him  in  Baltimore,  171,  172 
Lamb,  Lady  Caroline,  in  a  riding  habit, 

101 

Lamb's  wool  underwear,  77 

Lappets,  151,  213 

Lavinia  hat,  71,  91 

Lawyer's  gowns,  395 

Leghorn  hats,  143,  145,  162,  173 

Leg-of-mutton  sleeves,  173,  192,  309,  311 

Leg-of-mutton  trousers,  309 

Levantine,  141 

Lingerie  blouses,  315 

Locket  watches,  42 


Madison's,  Mrs.,  costumes  described, 
93,  102 


INDEX 


451 


Madison's,  President,  customary  dress, 
368 

Madonna  curls,  187 

Magenta  colour,  283 

Maid's  costume  in  the  early  part  of  the 
19th  century,  28 

Maid's  costume  1850-70,  284 

Mancheron,  147 

Mantillas,  135,  237,  262 

Mantles,  41,  43,  85,  144,  203,  234 

Marabout  feathers,  145,  222 

Marguerite  pink,  155 

Marshall,  John,  official  robes  as  Chief- 
Justice,  395 

Martineau,  Harriet,  costume  worn  by  her 
during  her  visit  in  Washington,  176 

Mathematical  tie,  386 

Matted  silk  trimmings,  154,  158 

Mechlin  lace,  94,  95,  152,  227 

Med  way  lace,  165,  166 

Merry,  Mrs.,  striking  costume  of  in 
1804,  56 

Metallic  gauze,  147 

Mits,  224,  299 

Mob  caps,  66,  121 

Morgan,  Lady,  description  of  her  cabrio- 
let and  bonnet  named  after  it,  177 

Mouchoirs  aux  betes,  147 

Mourning,  75,  76,  126,  224,  242,  261, 
331  . 

Mourning  worn  by  children,  309 
Mousquetaire  gloves,  96,  289 
Muffs,  53,  224 
Mushroom  hat,  277 


Nace,  Miss  Amanda,  dress  worn  by 
her  at  the  ball  given  for  La  Fayette  in 
Baltimore,  172 

Narrow  skirts,  26 

"  National  Intelligencer,"  letters  of  Mrs. 

Seaton   on   Society  in  Washington 

quoted  from,  101 
Natural  flowers,  196 
Necklaces,  81,  185,  204 
Neckties,  Cravats,  370,  371,  379,  385, 

386,  396,  414,  424 
Nets,  276 

Neville,  Lady  Dorothy,  hoop-skirt  anec- 
dote quoted  from  her  "Reminis- 
cences," 252 

Night  gowns,  55 

Nile  green,  155 


Norton,  Hon.  Mrs.,  dress  of  described  by 
Julia  Ward  Howe,  221 


Oldenburg  bonnet,  112 

Oldenburg  dinner  dress,  113,  114 

Olives,  203 

Oriental  ties,  386,  396 

Orsay,  D'  Count,  costumes  of,  408,  409 ; 

"Manual  of  Etiquette,"  413 
Overcoats,  Great  Coats,  Top  Coats,  359, 

363>  368>  395.  399 
Overdresses,  285 


Palatine  (cloak),  216 

Palm  leaf  hats,  399 

Palm  leaf  pattern,  194 

Pamona  hat,  97 

Pantalets,  303,  312,  315 

Pantaloons  (boys'),  310,  312,  320 

Pantaloons  (men's)  351,  362,  371,  378, 

379>  393.  4i5 
Parasols,  82,  92,  147,  151,  152 
Pardessus,  234 
Parisian  tea  parties,  154 
Parti-coloured  feathers,  165 
Passementerie,  221,  224,  232 
Patent  leather  boots,  415 
Patent  leather  slippers,  415 
Patent  travelling  hair  caps,  376 
Pear's  soap,  first  advertisement  of  in 

"La  Belle  Assemblee,"  1808,  83 
Peck,   Madame,    fashionable  milliner, 

Philadelphia,  1800,  31 
Peignoir,  262 
Pekin  stripes,  225,  227 
Pelerines,  85,  116,  134,  135,  182,  224 
Pelerines  (children's),  311 
Pelisses,  144,  155,  186,  201,  254 
Pelisses  (children's),  299,  301 
Pensee  or  Pansy  (colour),  222 
Persian  border,  264 
Persian  taffeta,  203 
Pigtails,  312 
Pilgrim  hats,  95 
Pin  tucks,  53 
Plaid  ribbon,  145,  147 
Plaids,  319 
Plume  velvet,  141 
Point  d'esprit,  201 
Pointed  bodices,  232 
Pointed  toes,  96 


452 


INDEX 


Poke  (bonnet),  117 

Polish  braid,  217 

Polish  cap,  67 

Polish  coat,  74 

Polish  riding  dress,  74 

Pompadour  sleeves,  221 

Poole,  the  English  tailor,  425 

Portrait  painters  of  the  19th  century,  26 

"  Port  Folio,"  24 

Postillion  backs,  255 

Powdered  hair,  368,  369 

Prescott,  William   H.,  dress  worn  at 

Court  by,  415 ;  red  gown  worn  at 

Oxford,  416 
Princess  Augusta  poke,  117 
Princess  Caroline  bonnet,  105 
Princess  dress,  92 
Printed  satin,  205 
Prismatic  coloured  silk,  187 
"Progress  of  the  toilet,"  by  Gillray,  27 
Provincial  bonnet,  82 
Pseudo-classic  mania  in  dress,  24 
Pumps,  360 


Quaker  bonnets,  332 

Quaker  children,  dress  of,  301,  30a 

Quaker  dress,  332 

Quaker  mourning,  331 

Queues,  368,  369 

Quilted  parasols,  82 

Quilted  vests,  359 

Quilted  waistcoats,  361 


Rainbow  gauze,  145 

Rain  cover  for  bonnets,  332 

Ravenel,  Mrs.,  description  of  dress  in 

Charleston,  1800-1825,  34 
Redingotes,  215 
Redingote  vest,  399,  400 
Reed,  Miss,  the  original  girl  with  a  curl 

on  her  forehead,  275 
Regard  ring,  133 
Regency  ball  dress,  104 
Regency  cap,  104 
Regency  hat,  104 
Regency  jacket,  104 
Regency  mantle,  104 
Regency  wrapper,  103 
Religieuse,  La  (cap),  222 
Reticules  or  Ridicules,  45,  82,  147,  152, 

162 


Revers,  223 

Ridicules — See  Reticules 

Riding  dress  (men's),  362,  431 

Riding  habits,  33,  61,  62,  74,  101,  121, 
192,  193,  276,  283 

Riding  hats,  62 

Ringlets,  55,  75,  225 

Rocket,  428 

Roman  sandals,  94 

Roman  scarf,  223 

Romantic  nicknames,  51 

Rouge,  72,  115 

Rouleaux  (trimming),  156 

Round  dresses,  53,  67,  74,  76 

Round  toes,  242 

Ruffs,  63,  67,  74,  97 

Ruffled  shirts,  351,  355,  375,  385,  393 

Rush,  Hon.  Richard,  his  description  of 
Court  dresses  in  London,  127 

Rush,  Hon.  Richard,  diplomatic  cos- 
tume worn  by,  385 

Russian  cloaks,  86 

Russian  wrapper,  97 

Rustic  mantle,  74 

Rutland  poke,  107 


Saccharine  alum,  82 

Sailor  costume,  320 

St.  Memin's  portraits,  58 

Salmagundi  Club  in  New  York,  431 

Sandals,  84,  94,  144 

Sardinian  mantle,  82 

Sashes,  85,  135,  155,  319 

Scalloped  lace,  74 

Scanty  draperies,  37,  51,  53,  57 

Scarf  pins,  414 

Scarfs,  164,  214 

Scotch  caps,  146 

Scotch  plaids,  135,  144,  320 

Seaton,  Mrs.,  extract  from  letters  of, 

io3>  "5 
Seed  pearls,  73,  161 
Shaker  dress,  333 
Shaker  worship,  334 
Shaw,  Mrs.  Robert,  inventions  of,  77,  81 
Shawls,  61,  193,  194,  214,  236,  237, 

253>  254>  332 
Shell  combs,  242 
Shell  trimmings,  82,  142,  206 
Shepherdess  hat,  74 
Shirts,  310,  375,  393,  39s 
Shoes,  Boots,  56,  62,  67,  74,  75,  76,  91, 


INDEX 


453 


92,  101,  106,  126,  156,  162,  164,  228, 
282 

Shoes,  Boots  (children's),  295,  315,  319 
Shoes,  Boots  (men's),  333,  334,  335, 

360,  362,  370,  394 
Shooting  dress,  432 

Shopping  in  Washington  in  1850-60, 
256 

Short  canes,  355 

Short  clothes — See  Knee-breeches. 
Short  gloves,  96 
Short  skirts,  67 

Short  trousers — See  Knee-breeches. 

Short  waists,  26 

Shorts — See  Short  Clothes 

Silk  net  gloves,  205 

Silk  stockings  worn  by  men,  354,  367, 

.  37i»  385>  394 
Silver  filagree  jewelry,  82 
Sleeve  cushions,  182 
Sleeve  extenders,  182 
Sleeves,  43,  44,  53,  67,  72,  74,  134, 
144,  165,  182,  186,  187,  191,  192, 

20I,  203,  205,  211,  215,  222,  223, 
224,  226,  23I,  232,  234,  235,  237, 
243,  262,  3II 

Slender  waists,  216 

Slippers  (women's),  34,  46,  54,  81,  94, 
96,  97,  144,  183,  211,  225,  242,  295, 
300 

Slippers  (men's),  347 

Sloping  shoulders,  232 

Small  clothes — See  Short  Clothes 

Smith,  Mrs.  Samuel  Harrison,  descrip- 
tions of  dress  in  America  quoted  from 
her  book,  56 

Smyrna  work,  73 

Snaps  (fastenings),  91 

Solferino  (colour),  283 

Southgate,  Elizabeth,  descriptions  of 
dress  in  1800,  27,  31,  32,  33,  45 

Soutache  braid,  224 

Spangled  velvet,  67 

Spanish  habit,  74 

Spanish  hat,  95 

Spencers,  43,  44,  144,  215 

Spotted  muslin,  31,  32,  45 

Spying  glass,  162 

Square  toes,  211 

Stage  traditions  in  costume,  426 
Starched  underskirts,  231 
Stays  or  Corsets,  27,  112,  123 
Steel  ornaments,  151 


Steel  pen  coats,  423 
Stock  sentimentale,  396 
Stocks,  Neck-cloths,  360,  393,  395,  396, 
419 

Stockinette  or  Stocking,  378 
Suede  gloves,  289 
Sunbonnets,  314 
Surtouts,  399 
Suwarrow  boots,  354 
Swallow  tail  coats,  423 
Swords  (dress),  395 


Taglioni,  a  la  (trimming),  185 
Tartans,  141,  142 
Tippets,  85,  164 
Tissue,  54 

Top  Coats,  Great  Coats,  Overcoats,  355, 
359.  36z>  363.  368>  371.  383>  395. 
399 

Toques,  221 

Trains,  53,  76,  85 

Tricosian  fluid,  51 

Trollope,  Mrs.,  extract  from  her]  book, 
"  Domestic  Manners  of  the  Amer- 
icans," 196 

Trousers,  Pantaloons,  Breeches,  310, 
312,  320,  351,  362,  371,  378,  379, 

383>  393.  396 
Tuckers,  144,  157,  161,  182,  186 
Tunics,  305,  309 

Turbans,  35,  44,  73,  77,  133,  143,  151, 
152,  162,  163,  204,  220,  223 


Uncut  feathers,  145 
Uncut  velvet,  237 
Underclothes,  77,  8 1 
Underdress,  225,  231 
Undersleeves,  224,  246,  262 
Union  suits,  77 


Valenciennes  lace,  94,  204,  227 
Vandyke  frills,  151 

Veils,  54,  63,  67,  73,  151,  203,  204, 
213 

Velvet  ribbon,  237 
Vests — See  Waistcoats 
Vevai  cap,  143 

Victoria,  Queen,  wedding  dress  of,  214 
Village  bonnet,  74 
Violets,  121 


454 


INDEX 


Virgin's  tears,  77 
Voilettes,  213,  214 


Wadded  capes,  216 

W added  rouleaux,  156 

Wadded  shawls,  216 

Wadded  waistcoats,  423 

Wadded  walking  dresses,  216 

Waistcoats,  Vests,  310,  331,  333,  351, 

352>  355.  359.  36o»  36l»  36a>  363> 
367,  368,  369,  371,  379,  385,  395, 
408,  409,  414,  419,  423 
Waists,  Bodices,  Corsages,  27,  64,  65, 

83>  85>  95>  96>  l87»  201»  ao5» 

223,  231,  233 
Waltz,  the,  137 
Waterfall,  274 
Wellington  boots,  383 
Wellington  hood,  107 
Wellington  mantle,  107 
Wellington  trousers,  383 


White  mourning,  236 

Whiskers,  369,  383,  424 
Wide  skirts,  191 

Wigs,  27,  31,  32,  34,  35,  55,  56,  375 

Wigs,  worn  by  Doctors  of  Medicine,  375 

Willow  feathers,  222 

Winged  ruffs,  67 

Witzchoura,  123 

Wrappers,  55 

Wrapping  cloaks,  26,  299 

Wristlets,  196 


Yates,  Edmund,  dress  of  a  Doctor  of 
Medicine  described  by,  375 ;  differ- 
ent types  of  dress  worn  in  England  in 
1836-1846,  406,  407,  408 

York  morning  dress,  97 


Zouave  jacket,  284,  315 
Zouave  trousers,  284 


AUTHORITIES  CONSULTED 


Authorities  Consulted 


The  Port  Folio,  Oliver  Oldschool,  Philadelphia,  1801-5. 

La  Belle  Assemblee,  1806-24-,  London. 

Letters  of  Eliza  Southgate  Bowne ;  or,  A  GirV  3  Life  Eighty  Years  Ago,  New 
York,  1887. 

Our  Grandmothers1  Gowns,  Mrs.  Alfred  Hunt,  London,  1895. 

The  Dawn  of  the  Nineteenth  Century  in  England,  John  Ashton,  London,  1886. 

Follies  and  Fashions  of  our  Grandfathers,  A.  W.  Tuer,  London,  1887. 

Forgotten  Children'1  s  Books,  A.  W.  Tuer,  London,  1898. 

Old- Fashioned  ChildrenJs  Books,  A.  W.  Tuer,  London,  1899. 

Diary  of  Rev.  Manasseh  Cutler,  New  York,  1886. 

La  Vie  Parisienne,  1800-1870,  Paris. 

Letters  of  William  Winston  Seaton,  Boston,  1871. 

Jane  Austen  and  her  Friends,  G.  E.  Mitton,  London,  1906. 

Jane  Austen's  Letters,  edited  by  Lord  Brabourne,  London,  1884. 

Travels  in  the  United  States,  1849-50,  Lady  Emeline  Stuart  Wortley. 

Court  Magazine,  1830-47,  London. 

American  Ladies1  Magazine,  edited  by  Mrs.  Hale,  Boston,  1831. 
Evening  Fireside,  Philadelphia,  1805-6. 

Euginie,  Empress  of  the  French,  Clara  M.  Tschudi,  New  York,  1899. 

Private  Life  of  Edward  VII  (Prince  of  Wales  1841-1901),  by  a  Member  of 

the  Boyal  Household. 
Memoranda  of  a  Residence  at  the  Court  of  London,  1819-1825,  Bichard  Bush, 

Philadelphia,  1848. 
In  Peace  and  War,  Mrs.  Pry  or,  New  York,  1904. 
Dixie  after  the  War,  Mrs.  Avery,  New  York,  1906. 
Punch,  1840-1870,  London. 
Lady's  Monthly  Museum,  1799-1824,  London. 

Beau  Brummell  and  his  Times,  Boger  Boutet  de  Monvel,  London,  1908. 
Life  of  Beau  Brummell,  Captain  William  Jesse,  London,  1886. 
Recits  Wnne  Tante,  Memoires  de  la  Comtessede  Boigne,  Paris,  1907. 
Leaves  from  the  Note-Book  of  Lady  Dorothy  Neville,  London,  1907. 
Extracts  from  the  Journal,  and  Correspondence  of  Miss  Berry,  London,  1865. 
Social  Life  in  the  Early  Republic,  Anne  H.  Wharton,  Philadelphia,  1902. 

457 


45S 


AUTHOKITIES  CONSULTED 


Fifty  Years  of  London  Life,  Edmund  Yates,  New  York,  1885. 
Things  as  Tliey  Are  in  America.  Wm,  Chambers,  Philadelphia,  1854. 
History  of  the  United  States,  James  F.  Ehodes,  New  York,  1904-6. 
Memoirs  and  Private  Correspondence  of  the  Bight  Hon.  Stratford  Canning, 
London,  1888. 

Portraits  of  the  Sixties,  Justin  McCarthy,  New  York,  1903. 
A  Belle  of  the  Fifties,  Mrs.  Clay,  New  York,  1904. 
A  Southern  Girl  in  >61,  D.  G.  Wright,  New  York,  1905. 
Latrobe1  s  Journal,  New  York,  1905. 

First  Forty  Years  in  Washington  Society,  Mrs.  S.  Harrison  Smith,  New 
York,  1906. 

Slight  Beminiscences  of  a  Septuagenarian,  Countess  Brownlow,  London,  1867. 

Memoirs  of  Lady  Dorothy  Neville,  London,  1908. 

Ladies'  Magazine,  Boston,  1829-1834. 

Harper's  Magazine  (Vol.  15),  New  York,  1857. 

Sartain's  Magazine,  Boston,  1849. 

Moniteur  des  Dames  et  des  Demoiselles,  Paris,  1855. 

Little  Memoirs  of  the  Nineteenth  Century,  London,  1902. 

Letters  from  England,  Mrs.  Bancroft,  New  York,  1904. 

Diary  of  a  Lady  in  Waiting,  Lady  Charlotte  Bury,  London,  1908. 

Mrs.  Fitzherbert  and  George  IV,  W.  H.  Wilkins,  New  York,  1905. 

Memoirs  of  Fifty  Years,  Lester  "VVallack,  New  York,  1889. 

Memories  of  Seventy  Years,  edited  by  Mrs.  Herbert  Martin,  London,  1883. 

Beminiscences,  1819-1899,  Mrs.  Julia  "Ward  Howe,  New  York,  1899. 

Two  Centuries  of  Costume,  Alice  Morse  Earle,  New  York,  1903. 

Directoire,  Consulat  et  Empire,  Paul  Lacroix,  Paris,  1884. 

Dix-neuvieme  Siecle  en  France,  J.  Grand-Carteret,  Paris,  1893. 

Le  Costume  Historique,  A.  Eacinet,  Paris,  1888. 

The  Quaker,  a  Study  in  Costume,  Mrs.  Francis  B.  Gummere,  Philadelphia, 
1902. 

The  History  of  Fashion,  G.  A.  Challamel,  London,  1882. 

Modes  and  Manners  of  the  Nineteenth  Century,  from  the  German  of  Max  von 

Boehm,  3  Vols.,  London,  1910. 
Chats  on  Costume,  G.  Woolliscroft  Bhead,  New  York,  1906. 
Collection  of  Fashion  Plates,  7  Vols.,  1810-1890. 
Godey's  Lady's  Book,  1830-1870,  Philadelphia. 


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